3ATEWAY SERIES " V:AN DYKE 



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rLlUSC/ESAR 



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OF ENGLISH TEXTS 



GENERAL EDITOR 

HENRY VAN DYKE 



THE GATEWAY SERIES. 



HENRY VAN DYKE, General Editor. 

Shakespeare's Merchant of Venice. Professor Felix E. 
Schelling, University of Pennsylvania. 

Shakespeare's Julius C^sar. Dr. Hamilton W. Mabie, 
"The Outlook." 

Shakespeare's Macbeth. Professor T, M. Parrott, Prince- 
ton University. 

Milton's Minor Poems. Professor Mary A. Jordan, Smith 
College. 

Addison's Sir Roger de Coverley Papers. Professor 
C. T. Winchester, Wesleyan University. 

Goldsmith's Vicar of Wakefield. Professor James A. 
Tufts, Phillips Exeter Academy. 

Burke's Speech on Conciliation. Professor William 
MacDonald, Brown University. 

Coleridge's The Ancient Mariner. Professor George 
E. Woodberry, Columbia University. 

Scott's Ivanhoe. Professor Francis H. Stoddard, New 
York University. 

Scott's Lady of the Lake. Professor R. M. Alden, Leland 
Stanford Jr. University. 

Macaulay's Milton. Rev. E. L. Gulick, Lawrenceville 
School. 

Macaulay's Addison. Professor Charles F. McClumpha, 
University of Minnesota. 

Macaulay's Life of Johnson. Professor J. S. Clark, North- 
western University. 

Carlyle's Essay on Burns. Professor Edwin Mims, Trin- 
ity College, North Carolina. 

George Eliot's Silas Marner. Professor W. L. Cross, 
Yale University. 

Tennyson's Princess. Professor Katharine Lee Bates, 
Wellesley College. 

Tennyson's Gareth and Lynette, Lancelot and 
Elaine, and The Passing of Arthur. Henry van 
Dyke. 




The SiKATi-oRD Bust 



GATEiVAY SERIES 



JULIUS C^SAR 



EDIIED BY 

HAMILTON WRIGHT MABIE 




NEW YORK . : • CINCINNATI • : • CHICAGO 

AMERICAN BOOK COMPANY 






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Copyright, 1905, by 
AMERICAN BOOK COMPANY. 

Entered at Stationers' Hall, London, 



JULIUS OESAR. 

W. P. I 



PREFACE BY THE GENERAL 
EDITOR 

This series of books aims, first, to give the English 
texts required for entrance to college in a form which 
shall make them clear, interesting, and helpful to those 
who are beginning the study of literature; and, second, 
to supply the knowledge which the student needs to 
pass the entrance examination. For these two reasons 
it is called The Gateway Series. 

The poems, plays, essays, and stories in these small 
volumes are treated, first of all, as works of literature, 
which were written to be read and enjoyed, not to be 
parsed and scanned and pulled to pieces. A short life 
of the author is given, and a portrait, in order to help 
the student to know the real person who wrote the 
book. The introduction tells what it is about, and 
how it was written, and where the author got the idea, 
and what it means. The notes at the foot of the page 
are simply to give the sense of the hard words so that 
the student can read straight on without turning to a 
dictionary. The other notes, at the end of the book, 
explain difficulties and allusions and fine points. 

5 



6 Preface by the General Editor 

The editors are chosen because of their thorough 
training and special fitness to deal with the books 
committed to them, and because they agree with this 
idea of what a Gateway Series ought to be. They 
express, in each case, their own views of the books 
which they edit. Simplicity, thoroughness, shortness, 
and clearness, — these, we hope, will be the marks of 
the series. 

HENRY VAN DYKE. 



BIOGRAPHY 

In the age in which Shakespeare lived very httle im- 
portance was attached to actors or playwrights, and few 
facts about him have been preserved ; more, however, is 
known about his personal history than about that of 
many other men of his profession at the close of the 
sixteenth century. He was born in Stratford-on-Avon 
in Warwickshire, probably on April 23, 1564; he was 
baptized, according to the record, three days later. His 
family were of the yeoman class and had lived in the 
neighbourhood for many generations. His father was an 
active business man in a small way in a very small com- 
munity ; dealt in hides, meat, wool, and leather ; be- 
came a land owner and a man of property ; was chosen 
bailiff or head alderman ; became involved in financial 
difficulties and lost the greater part of his estate. Shake- 
speare undoubtedly went to the Grammar School in his 
native town and studied the books prescribed for such 
schools : the plays of the Latin comedy writers, Terence 
and Plautus, with whose manner of writing some of his 
earlier plays show familiarity; Seneca, the novelist, and 
Cicero, the orator ; Ovid, the poet, from whose pages he 
probably learned the story of Venus and Adonis ; Lily's 
Latin grammar ; the Sente7iticB Piieriks, a collection of 

7 



8 Biography 

wise maxims much studied by English boys of the time, 
and the Bible in what is known as the Genevan version 
or in a version made when Shakespeare was four years 
old. There were few studies, school hours were very 
long, and discipline very severe ; and boys learned a few 
books thoroughly ; which is much better than knowing 
many books superficially. When Shakespeare Avas eigh- 
teen years old he married Ann Hathaway, who lived in 
the little hamlet of Shottery, within easy walking distance 
of Stratford. He had three children : Susanna, born in 
1583; and Hamnet and Judith, born in 1585. A year 
later he went to London in search of work, and in 1592 
he had become an actor and writer of plays. He never 
attained eminence as an actor, though there is a tradition 
that he played the part of Adam in As You Like It uncom- 
monly well, and that he made a success as the ghost in 
Hamlet. Many stories of dissipation have been told 
about this period of his hfe, but they are discredited by 
his industry, his steady growth as a wTiter, his loyalty to 
his family, and his success as a man of business. In 
1592 one of his fellow-playwrights spoke of him as an 
actor and a man in terms of warm praise. His interest 
and skill in poetry were shown by the pubHcation of 
Venus and Adonis in 1593, and The Rape of Lucrece in 
1594. The theatre, although frowned upon by a large 
section of society, Avas rapidly gaining position and in- 
fluence, and companies of actors were organized 
under the patronage of men of rank. Shakespeare 
became a member of one of these companies and rose 



Biography 9 

to a prominent and influential position as actor, play- 
wright, manager, and shareholder. His income from all 
these sources increased until he acquired a competence 
which enabled him to retire in middle life and return to 
Stratford to live as a man of property and leisure. He 
was connected principally with the Globe, the foremost 
theatre of the period ; and his plays were not only pre- 
sented at this theatre but contributed largely to its 
popularity. 

When Shakespeare began his career plays were not 
published as books are published to-day, but were sold 
to the theatres and became their exclusive property. 
There were many plays whose authors were not known 
and which were so entirely the property of the theatres 
that they were worked over, recast, and rewritten with- 
out any thought of or regard for individual ownership. 
Shakespeare learned how to write plays by working over 
some of these old dramas, and the three parts of Henry 
VI contain some of this earlier work which he added to 
and recast to make the old plays more effective for stage 
purposes. When Shakespeare left London for Stratford 
in 161 1, he had written thirty-six or thirty-seven plays, 
and had become a rich man. 

Shakespeare was not a man of letters in the modern 
sense of the phrase ; his vocation was not writing books 
to be read, but writing plays for the theatre, to be acted. 
It was, therefore, against his interest that his work should 
be published, and it is probable that none of the plays 
were published with his consent. During his life sixteen 



lo Biography 

plays appeared in quarto form, without his authorization, 
the text having been taken down by shorthand writers 
by such very defective methods as were in use at the 
time, or secured without his consent from actors. Seven 
years after his death thirty-six plays were issued in what 
is known as the First Folio edition, edited by his friends 
and fellow-actors, John Heminge and Henry Condell. 
Shakespeare probably never thought of himself as a liter- 
ary man, and never thought of his plays as literature in 
the modern sense. He wrote them to be sold and acted 
them to earn his living ; he never revised or pubhshed 
them. 

The plays may be divided in a general way into four 
groups : those like the parts of Henry VI and The Co?n- 
edy of Errors and Love's Labom-'s Lost, written during 
his period of apprenticeship when he was learning how 
to construct plays ; those like Romeo and Juliet and The 
Midsummer Night's Dream, written while his poetic 
imagination was more active than his dramatic insight 
and power ; the tragedies, Julius Ccesar, Hamlet, King 
Lear, Macbeth, Othello, Coriolanus, Antony and Cleopa- 
ti-a, in which his genius as a dramatist, and his magical 
skill in the use of language, reached a height above that 
of any contemporary or successor ; and the small group of 
plays often called "romances," written at the end of his 
life, including The Winter's Tale, The Tempest, Cyfn- 
beline. These plays, with a group of Sonnets published 
in 1609, and the two poems, Venus and Adonis and The 
Rape of Luc7'ece, form a contribution to literature unsur- 



Biography 1 1 

passed for depth of insight into character, variety and 
breadth of observation, sanity of moral feehng and judge- 
ment, and beauty and energy of style. Scattered through 
the plays many lyrics or songs appear, which for fresh- 
ness of imagination and magic of cadence must be 
ranked among the best poetry of the singing quality in 
the hterature of the world. 

Shakespeare made many friends and received the most 
affectionate tributes from his contemporaries ; his plays 
were very popular, not only with the people who went to 
the theatre, but in the court circles ; he was one of the 
most briUiant talkers of his time ; and the growth of his 
genius as recorded in his plays seems to have been un- 
usually symmetrical. He had moods of depression and 
even cynicism hke all men of sensitive genius and vivid 
imagination ; but his nature was sweet and sound, and 
he is conspicuous among the great poets for his serenity, 
sanity, and poise. No man surpassed him in breadth of 
observation of the relations of men to one another and 
to society, of the influence of what men do on what they 
become and suffer, of the effects of lack of balance be- 
tween will, emotion, and action. 

In 1611 Shakespeare returned to Stratford and bought 
a substantial house with ample grounds known as New 
Place. His son Hamnet died in 1596, his daughter 
Judith married Thomas Quiney, and his daughter Su- 
sanna John Hall ; both lived in Stratford in houses still 
standing, and John Hall became a physician of high 
repute. Shakespeare's last direct descendant was Lady 



12 Biography 

Barnard, the daughter of Mrs. Hall. Shakespeare had a 
large income and was evidently a man of prudence and 
sagacity in managing his affairs ; while the humour, kind- 
Hness, geniality, and charity which made him one of the 
sanest of writers bound his friends to him with bands of 
steel. He died April 23, 16 16, and was buried in the 
chancel of Holy Trinity Church at Stratford, which has 
become one of the places of supreme interest in Eng- 
land to Americans quite as much as to Englishmen. 



INTRODUCTION 

When Shakespeare was a boy there were no news- 
papers in England, and books were so few and expen- 
sive that, so far as the great body of English people were 
concerned, there were no books. There was very little 
travel ; when Shakespeare went up to London about 
1586 the roads were tracks or ruts across the fields, 
and there were no stages or conveyances of any kind 
running at regular times until fifty years later. Shake- 
speare made the journey on foot or on a horse hired or 
bought for the occasion. The great majority of his 
neighbours in Stratford had never been twenty miles 
from home. Letters were rare and were entrusted to 
chance travellers. Life in small towns and in the coun- 
try was very monotonous and dull. It was not so dull 
as it had been two centuries earlier, when in the lonely 
castles there was a warm welcome for men of wandering 
habits who went about telling stories and reciting long 
poems, like The Romance of the Rose, to entertain people ; 
and were rewarded by a rough bed, a coarse meal, and 
an occasional gift of money. 

England had awakened from the lethargy of the 
Middle Ages and had begun to think modern thoughts 
and ask modern questions ; but life was still very un- 

13 



14 Julius Caesar 

interesting in places like Stratford. There were no 
theatres in 1564, the year of Shakespeare's birth; but 
there were companies of travelHng actors who gave 
rude plays in the yards of inns, in public squares, and, 
sometimes, in large private houses. These plays were 
not only the forerunners of the great dramas which were 
written a few years later, but of the circus and " show " of 
our time. The audiences were made up of all kinds of 
people, but chiefly of village folk, of men who frequented 
taverns and stables, and of clerks and apprentices. 

The stage, the scenery, the play, the actors, and the 
audiences were crude and rough ; but in the compa- 
nies of men who rode from town to town in tawdry 
dress, and who lived at times as modern tramps live, 
there were the beginnings of a great art; and in these 
rude, improvised theatres the English people found their 
newspapers, novels, histories, free libraries, and reading 
rooms. 

The people of that age were as fond of stories as we 
are ; but while in our day more stories are written than 
any man can read, in their day the story on the stage 
was the only one offered them. The old plays were 
stories that were acted instead of printed ; they were 
published on a stage instead of in a book. The play- 
writers laid hands on any bit of history or group of 
incidents that could be worked over and put together so 
as to thrill people, or surprise them, or fill them with 
horror ; just as the writers of sensational novels and plays 
do to-day. Much of the most available material these 



Introduction 15 

play-writers found in English histories and legends ; and 
they made a great number of plays, now almost wholly 
lost, out ©f striking scenes and happenings, and the 
heroic, unfortunate, or evil figures in the story of earlier 
England. 

There were two kinds of these rude dramas : chronicle- 
plays and tragedies of blood. The former were not so 
much dramas as series of dramatic scenes and pictures ; 
Shakespeare's three plays about Henry VI are good 
examples of the chronicle-play when it was written or 
worked over by a man of genius. On the other hand, a 
good example of the tragedy of blood is found in Titus 
Androniciis ; a play often attributed to Shakespeare but 
not certainly known to have been written by him. These 
" blood-and-thunder " tragedies — as we call them to-day 
— were great favourites with the people, and were put 
together, before Shakespeare's time, with very little skill 
or inventiveness. There was a hero who was usually 
killed in the first part and avenged in the most bloody 
manner in the second, his ghost being generally on the 
scene. There was then as now a great interest in ghosts, 
and Shakespeare does not hesitate to use them in several 
plays; notably in Macbeth, Hamlet, Richard III, and 
Julius Ccesa?'. There were certain incidents of which 
the people never tired, and among them were the appari- 
tion of the ghost in Hamlet crying for revenge, and the 
death of Caesar. The cry of Hamlet's father made a 
deep impression on the quick imagination of Shakespeare's 
contemporaries and was heard many times on the stage; 



1 6 Julius Caesar 

while the fall of Caesar at the foot of Pompey's statue was 
felt to be one of the great tragic moments in history. 

Shakespeare a Story-Teller. — Shakespeare was a born 
story-teller ; he was a man of genius who told stories in 
such a way as to make them both great plays and great 
poems ; but at the beginning he was bent chiefly on 
interesting people by arranging events in such an order, 
putting men and women on the stage with such words in 
their mouths, and such deeds to do, as would hold the 
attention and delight the ears of the crowd in the theatre. 
He began by writing chronicle-plays, the chief object of 
which was to keep everybody interested in what the 
actors were doing ; he went on to write poetic plays, full 
of imagination and sentiment; then he wrote tragedies 
as great in their thought and speech as the fates they 
represented ; and, finally, he created romances touched 
with a beauty beyond the reach of all his contempora- 
ries in The Winter's Tale and The Tempest ; but he 
remained to the end a wonderfully vivid and captivating 
teller of stories ; and one of the best ways of learning 
how to enjoy him is to read his plays again and again 
as stories. 

Among the plays which have all the qualities of a good 
story, none is more striking or absorbing than Julius 
C(Bsar. Shakespeare lived in a time when the idea 
of literary property, of a man's exclusive ownership of 
the things he wrote, was, so to speak, in its infancy. 
Stories, plays, and even poems were common property. 
England was just coming out of her isolation, and begin- 



Introduction 17 

ning to feel herself one of the family of nations ; and 
this feeling was due in large measure to the pouring in 
of the ideas, knowledge, and Hterature of all Europe. 
Englishmen in Shakespeare's time were like men who 
had thought they lived on an island and suddenly dis- 
covered that they lived in a world. They were full of an 
intense curiosity about other countries, eager to know 
what other races had thought and said and done. They 
devoured the writings of the Italians, the French, and 
the Spaniards as they had earlier read the writings of the 
Greeks and Romans. They travelled, studied in foreign 
universities, translated foreign books. When men are in 
this frame of mind they are quick to learn ; and among 
all the brilliant men of his time, no one learned more 
quickly than Shakespeare. 

Sources of Julius Caesar. — Nearly all the great cities of 
Europe and many of the smaller towns in Italy are men- 
tioned in Shakespeare's plays. He looked everywhere for 
good stories, and wherever he found them he took them, 
rearranged them, brought out the character in them, 
clothed them in a beauty which made them his own, and 
breathed the breath of life in them as plays. In this 
way he found plots in the early Italian novehsts, in the 
old plays that were kept in the theatres, in Hohnshed's 
Chronicles of England, Scotland, and Ireland, in Plu- 
tarch's Lives. Among the great books which came by 
translation into the hands of the men of Shakespeare's 
time none impressed them more than Plutarch's short 
but wonderfully distinct accounts of many of the most 

JULIUS CAESAR — 2 



1 8 Julius Caesar 

famous Greeks and Romans. The Lives had all the 
interest of a novel for men who knew almost nothing of 
biography. Born about the middle of the first century 
in Chseronea, Boeotia, — a part of Greece which the 
Athenians used to say was full of very dull people, as 
the Germans say that Swabia is a very stupid country, 
— Plutarch lived nearly seventy years in his native town ; 
liking it so well that he said he was unwilling " to make 
it less by the withdrawal of even one inhabitant." He 
travelled a good deal, however ; saw much of the world 
of his time ; lectured and taught in the Greek language 
in Rome ; wrote about a hundred books, and never wrote 
a dull one. Emerson says of the Lives ^ borrowing a 
phrase from Ben Jonson, that they are "rammed with 
life." They abound in interesting anecdotes, and the 
style is fresh, vivid, and effective. These short stories 
of great men were first translated into French and then, 
later, from French into English by Sir Thomas North, 
while Shakespeare was in the Grammar School at Strat- 
ford. The translation belongs to a group of translations, 
including Chapman's Horner^ Florio's Montaigne, and 
Fairfax's Tasso, which were so full of the spirit of the 
time and put into such noble Enghsh, that they may be 
regarded as original contributions to the literature of the 
age of Queen Elizabeth. 

Shakespeare turned to Plutarch at the time when he 
was writing some of his greatest plays, and the old biog- 
rapher fed his imagination when it was moved most 
deeply and created great works with masterly power and 



Introduction 19 

ease. In the Lives Shakespeare found material for the 
three Roman tragedies, Coriolanus, Julius Ccesar, and 
Anto?ty and Cleopatra; and in part for the Greek 
tragedy, Tifnon of Athens. In the short biographies of 
Caesar, Brutus, and Antony he found a rich mine not 
only of information and fact, but of suggestion, bits of 
description, sketches of character, dialogues, and passages 
of such eloquence that he used them with very slight 
changes. But much as he owed to Plutarch, the play of 
Julius CcBsar is not an adaptation, but a creation. The 
dramatist had material of unusual quality to work with, 
but when he finished he had made it over so completely 
that it was a new work and belonged to him as truly as if 
he had invented the characters and incidents. 

The difference between Plutarch's prose and Shake- 
speare's poetry can best be shown by placing two famous 
passages side by side. One of the most striking parts of 
the play is the oration of Mark Antony over Caesar's 
body. Plutarch describes the address in these words : 
" When Caesar's body was brought into the market place, 
Antonius making his funeral oration in praise of the dead, 
according to the ancient custom of Rome, and perceiving 
that his words moved the common people to compassion, 
he framed his eloquence to make their hearts yearn the 
more, and taking Caesar's gown all bloody in his hand, 
he layed it open to the sight of them all, showing what a 
number of cuts and holes it had in it. Therewith all the 
people fell presently into such a rage and mutiny that 
there was no more order kept among the common people." 



20 Julius Caesar 

Compare this clear descriptive prose with Shakespeare's 
rendering of the speech, and the quickness with which his 
imagination made any kind of material his own, discerned 
what could be done with it, and made it over with magi- 
cal skill and beauty, is seen at a glance : 

You all do know this mantle : I remember 

The first time ever Caesar put it on; 

'Twas on a summer's evening, in his tent, 

That day he overcame the Nervii : 

Look, in this place ran Cassius' dagger through : 

See what a rent the envious Casca made : 

Through this the well-beloved Brutus stabb'd; 

And as he pluck'd his cursed steel away, 

Mark how the blood of Caesar foUow'd it. 

As rushing out of doors, to be resolved 

If Brutus so unkindly knock'd, or no; 

For Brutus, as you know, was Caesar's angel : 

Judge, O you gods, how dearly Caesar loved him ! 

This was the most unkindest cut of all; 

For when the noble Caesar saw him stab, 

Ingratitude, more strong than traitors' arms, 

Quite vanquish'd him: then burst his mighty heart; 

And, in his mantle muffling up his face, 

Even at the base of Pompey's statua, 

"Which all the while ran blood, great Caesar fell. 

How Shakespeare Worked. — Ben Jonson, who was 
Shakespeare's greatest rival, and one of his best friends, 
was a scholar ; he loved exactness and thoroughness, and 
the sharpest criticism he made on Shakespeare was that 
the latter did not correct and revise his writing. Jonson 



Introduction li 

wrote a fine Roman tragedy on Sejanus, in which almost 
every incident and speech was taken from the authorities 
he consulted, and he accompanied the play with a great 
number of minute references. The result is that the men 
in the play speak exactly as they do in the pages of the 
Roman histories, but they do not hve, move, and have 
their being like actual persons before our eyes. They 
are scholarly puppets who move only when Jonson pulls 
the strings, and one can see how he does it. 

Shakespeare always read with his imagination ; he saw 
not only the words but the people whom the words de- 
scribed. As he read Plutarch's accounts of Csesar, Brutus, 
and Antony he saw the drama of their hves going on 
before him ; and when he set himself to tell the story to 
his contemporaries, he thought only of the most vivid and 
vital way of doing it. He had no interest in following 
Plutarch's lead ; he wanted to make Plutarch's men live. 
Accordingly he used Plutarch's words when they were 
vivid and alive, and his own words when they were more 
eloquent and impressive. He gave the facts but only so 
far as they brought out the truth ; he took those things 
which showed what kind of men Caesar, Brutus, Cassius, 
and Antony were, and he discarded the rest. 

Shakespeare and Plutarch. — Sometimes Shakespeare 
uses Plutarch's exact words ; sometimes he invents long 
passages and whole scenes of which there are no hints in 
Plutarch. He knew what to leave out ; which is one of 
the nice points of dramatic writing. Plutarch narrates at 
great length a number of indecisive movements between 



22 Julius Caesar 

the day of Caesar's death and the battle of PhiHppi ; he 
describes attempts to reach an understanding between 
Brutus and Cassius on one side and the Senate on the 
other ; he gives an account of a quarrel between Antony 
and Octavius ; he reports Brutus' visit to Athens and his 
interest in Greek philosophy, and the several quarrels 
between him and Cassius. Shakespeare sifts this con- 
fused chapter of history, makes it perfectly clear, and 
tells the story in three great incidents : Caesar's funeral, 
the quarrel scene between Brutus and Cassius, and 
the battle of Phihppi. Shakespeare's genius for seeing 
what is essential and making us see and understand it in 
a few lines is strikingly shown in the quarrel scene, which 
is a marvellous example of concentration. 

When the Play was Written. — When Shakespeare wrote 
Julius Ccesar, probably about the year 1601, he was thirty- 
seven years old and had reached the full maturity of his 
mind and art. He had served a long apprenticeship and 
knew just what he could do and how to do it. He had 
worked over old plays ; he had written sparkling comedies ; 
he had made some of the most beautiful songs in the world, 
and composed the most striking and interesting sonnets 
in English literature ; he had studied English history 
and told the story of the Wars of the Roses so vividly, in 
a series of historical plays, that a great Englishman did 
not hesitate to say that he had learned his history from 
Shakespeare ; he had made himself a man of means, and 
drawn men to him in the closest and most affectionate 
friendship ; he had, above all, drunk deep of the cup of 



Introduction 



23 



experience and learned what was in life by what had 
happened in his own Hfe. 

Between the years of 1601 and 1608 he devoted him- 
self almost entirely to the writing of tragedy, and in that 
time he produced a group of the greatest dramas in 
literature : King Lear, Macbeth, Ha7nlet, Othello, 
A^itony and Cleopati-a, Julius Ccesar. 

Poet and Dramatic Artist. — Shakespeare was not only 
one of the foremost story-tellers in the world, but he was 
also a poet and a thinker. The moment he began to 
make over the old plays, he began to show a wonderful 
insight into hfe, a wonderful knowledge of character. As 
he grew older this insight grew clearer and this knowl- 
edge deeper and broader ; he came to know the world 
in one of the most exciting moments of its history, 
when men were full of vitality and "rammed with hfe," 
with fierce passions, towering ambitions, audacious 
schemes in their minds. He saw brilhant successes 
and tragic failures on all sides ; splendid hopes defeated 
by base means, some of his warmest friends overtaken 
with irretrievable disaster, the great Queen growing old 
and her brilhant day ending in cloud and storm. 

In his own life there must have come deep and painful 
experiences which compelled him to look calamity and 
sorrow and age in the face and try to understand what 
they meant. For seven or eight years he seems to have 
been brooding over the mysteries of hfe, and trying to 
answer the terrible and searching questions which it put 
to him. At the very time when he had learned his art 



24 Julius Caesar 

most thoroughly and could do his work with the utmost 
power and the most magical skill, the richest and most 
inspiring subjects filled his imagination. It was during 
those years of profound thought and feeling that the 
tragedies were written, Julius CcBsar being one of the 
earliest of them. The play was published for the first 
time in the Folio of 1623, the earliest complete edition 
of Shakespeare's works, edited by his two friends, John 
Heminge and Henry Condell, who were actors like 
himself; and its popularity from the start was assured by 
its subject and by its sustained interest. One of his 
contemporaries. Weaver, who printed The Mirror of 
Martyrs, in 1601, has left this report of the liking of the 
people for the play : 

The many-headed multitude were drawn 
By Brutus' speech, that Caesar was ambitious. 
When eloquent Mark Antoine had shown 
His virtues, who but Brutus then was vicious ? 

which seems to show that Antony's subtle and calculated 
eloquence was as taking on the English stage as it was 
in the Roman market-place ; and strikingly fulfils the 
prophecy of Cassius : 

How many ages hence 
Shall this our lofty scene be acted over 
In states unborn and accents yet unknown ! 

The tragedy is still among the popular of Shakespeare's 
plays and the quarrel scene between Brutus and Cassius 
has been rendered many times by the foremost actors 
on the modern stage. 



Introduction 25 

The Tragic Elements. — Julius Ccssar is one of the 
greatest stories in history because it reports great events, 
shaped by great men and culminating in a great and 
striking cHmax. The chronicle-plays which preceded it 
were generally composed of a series of events ; they 
were panoramas of incidents, and read like chapters in 
an incomplete drama. Julius CcEsar is complete in it- 
self; it begins abruptly and we are caught up in affairs 
at Rome and absorbed by them before we have finished 
the first scene ; we know at once that great events are at 
hand. Then follows the death of Caesar ; sudden, dra- 
matic, and involving the fate of the world ; then comes 
the gathering of the forces of the conspirators and of the 
friends of Caesar and the inheritors of his tradition, and 
the quarrel of Brutus and Cassius makes one aware at 
once of the moral elevation and the practical weakness 
of the Roman patriots; the end at Philippi has been 
foreshadowed and is seen to be inevitable, but Caesar's 
ghost, appearing to the calm vision of Brutus, ties the 
final defeat to the deed at the foot of Pompey's statue. 
There is no pause in the movement of the play ; it flows 
with the current of a deep stream in human affairs. Its 
construction is firm and close ; act is knit to act by a 
logic not only of events but of character, and the atten- 
tion is riveted from the rise to the fall of the curtain. 
The story is full of great and stirring moments, is per- 
vaded by a haunting sense of fate, and is dominated by 
noble or commanding personalities. 

The chief actors are all worthy to be called " Plutarch's 



26 Julius Caesar 

men ; " that is to say, they are men of large purpose, 
resohite will, and dominating ability. There is a strain of 
the heroic in them all ; for even pleasure-loving Antony 
is ready to die beside the corpse of Caesar. They are 
all capable of thinking great things, and three of them 
are capable of executing them. It is at this point that 
what would have been a chronicle-play, if Shakespeare 
had written it earher in his life, becomes a very noble 
tragedy ; the series of historical scenes not simply follow- 
ing one another but flowing out of one another by the 
force of that logic which gives life its meaning and 
dignity. By the working out of this logic what is sown 
by one man or by many men in successive generations 
sooner or later bears fruit in the lives of other men. In 
such a tragedy as Macbeth the sower of the seeds of evil 
reaps his own harvest and is overtaken by the punish- 
ment he has brought on himself. In Hajnlet a sensitive 
nature framed for thought rather than for action, and 
almost distraught by the horror of corruption and crime 
which he discovers in his own home, is compelled to de- 
stroy and be destroyed in order that a foul world may be 
cleansed. In Julius Ccesar a great and radical change 
has been made in society. Caesar, — who personifies it, — 
Octavius, and, to a certain extent, Antony, recognize the 
new movement in Rome, move with it, and are carried 
on to fortune. Brutus and Cassius, on the other hand, 
fail to see that changed conditions involve new forms of 
rule, and are wrecked by flinging themselves against an 
order which was inevitable and was, for the time, invincible 



Introduction 27 

because it met the needs of a Rome which had become 
a world-power. Whether this change was beneficent or 
unfortunate for Rome, it was already an accomplished 
fact ; and the tragedy for Brutus and Cassius lay in their 
inability to recognize the fact. 

There are different kinds of tragedy, but in every 
tragedy there is a collision of will : a struggle between 
a man and some fellow-man ; between a man and the 
state ; between a man and some movement which is 
vaster and stronger than he ; between a man and fixed 
conditions about him ; between the good and evil, or the 
weak and the strong elements of character, in the same 
man. In Julius Ccesar the tragedy has two elements : 
the struggle of noble men against an overwhelming cur- 
rent in human affairs, and the struggle of high-minded 
but ineffective men against men of great practical capac- 
ity and force. The name of the play has been criticized 
because Caesar dies in the first act ; more than one critic 
has suggested that it ought to have been called ^' Brutus." 
Shakespeare's insight did not fail him, however, when he 
named his tragedy after the most commanding figure in it. 
Caesar is shown in the play as a man beginning to feel the 
weakness of age ; superstitious, vainglorious, easily moved 
by flattery, swooning when the crown is offered him ; he 
is, nevertheless, the dominating personality in the drama. 
It is he with whom Brutus and Cassius contend to the 
very end ; when his body is borne from the stage his 
spirit takes possession of it. The idea for which he 
stands, and the political order which he has created and 



28 Julius Caesar 

in which he is to survive for generations, are impregnable 
to the assaults of the conspirators. They begin to see 
very early that Caesar is not dead, and cannot be killed ; 
and at the end Brutus cries out : 

O Julius Caesar, thou art mighty yet ! 

Thy spirit walks abroad, and turns our swords 

In our own proper entrails. 

The conspirators flung themselves blindly against a force 
which overwhelmed them, and they saw too late "that 
they had attempted a work which was beyond their 
power. 

Contrasts of Character. — Antony and Octavius could 
think great things and execute them ; Brutus and Cassius 
could think great things but could not execute them ; 
here is the second element in the tragedy : the collision 
between those who see ideals clearly, and those who have 
a firm grasp of realities. Caesar was one of the greatest 
personal forces society has known ; he reorganized the 
world of his time and gave his name to the order of gov- 
ernment which he established. As a commander, a 
statesman, and a writer, he is one of the most effective 
men in history. His nephew, Octavius, afterwards the 
Emperor Augustus, had less genius but an immense 
talent for governing and managing affairs. Antony was 
pleasure-loving and self-indulgent, but had great gifts as 
a soldier, and was capable, at the time in his life when 
those events took place, of great energy and of brilliant 
and successful dealing with difficult situations. These 



Introduction 29 

three actors in the play knew how to conceive great 
projects and to carry them out. 

Brutus, on the other hand, although the noblest figure in 
the play, lacked that sense of reality which gives men a 
clear understanding of conditions about them and enables 
them to know what they can do and what is beyond their 
power. He is one of the noblest and most consistent of all 
Shakespeare's men ; a patriot who loved his country with- 
out a thought for his own welfare ; a man who personified 
Roman virtue in its highest forms ; the " noblest Roman 
of them all." He was, however, an idealist not only by 
conviction but by temperament ; he beheved implicitly 
in ideas, and he followed them without due regard for 
means. He often attempted to do things for which he 
did not possess the proper instruments. He had the 
qualities of a great inspirer of noble living, but he 
lacked the qualities of a great leader. The problem 
of life is the incorporation of ideas in character, laws, 
and institutions, and to do this a man must have, not 
only a clear vision for ideas, but a clear sense of what 
can be done at the moment and how it can be done. 
Brutus, like Hamlet, was forced to act in a crisis for 
which he was unfitted by temperament to deal. 

Cassius is a man of courage and of ideas, but he is far 
more egotistical than Brutus ; he frankly envies Caesar 
and hates him because, having started at the same point 
in fife, Caesar has left him far behind. He is capable of 
scheming and plotting like any common conspirator ; 
Brutus hates any kind of concealment and would have 



JO Julius Caesar 

everything as open as the day. Cassius would stab with 
a touch of personal animosity ; Brutus stabs as a public 
executioner. Cassius is capable of ideas, but he does not, 
like Brutus, live exclusively with them. He is too keen 
an observer to be a pure idealist ; and Caesar, who knew 
men, distrusted him with good reason. He is capable, 
however, of great elevation of purpose and dignity of 
action ; and he has the love of Brutus, which was given 
only to men capable of great deeds. 

In the end the spirit of Caesar, embodied in an irresisti- 
ble movement towards a highly centralized government at 
Rome, and the force and practical sagacity of Octavius 
and Antony, triumph, and Brutus and Cassius die, after 
the Roman custom, by their own hands. Shakespeare is 
never, however, a worshipper of success ; and in this 
noble tragedy he makes a striking contrast between the 
failure of men in dealing with affairs and their success in 
dealing with life, which is a much more complex affair. 
A material defeat is turned into a moral victory, and the 
victors at Philippi concede to the dead Brutus, who in all 
his life had found no man who was not true to him, that 
which they do not claim for themselves : 

This was the noblest Roman of them all : 

All the conspirators save only he 

Did that they did in envy of great Caesar ; 

He only, in a general honest thought 

And common good to all, made one of them. 

His life was gentle, and the elements 

So mix'd in him that Nature might stand up 

And say to all the world " This was a man ! " 



SUGGESTIVE TOPICS 

These topics are intended merely to save time for both teachers 
and pupils and to indicate methods of studying the play which ex- 
perience has proved valuable, 

1. The use of prose in this play. 

2. Shakespeare's Commoners : their characteristics and his atti- 
tude tov^^ard them, see i. I ; iii. 2. 

^ -3. Brutus and Cassius : their character, purposes, and motives 

traced through the play and compared. 

4. A study of the characters of Casca, Cicero, Antony, Octavius. 

5. The character of Portia: Is she a Roman or an Elizabethan 
woman? A comparison of Portia and Calpurnia. 

6. Shakespeare's object in introducing the storm and prodigies 
in i. 3 and ii. 2. Compare with Macbeth. 

7. Caesar in this play; comparison with the Caesar of history. 

8. A comparison of the scene between Brutus and Portia with that 
between Hotspur and Lady Percy, see King Henjy IVy Part I, ii. 3. 

9. A study of Antony's speech in iii. 2, tracing the progress of 
his influence over the mob. 

10. A careful study of the quarrel scene, observing the grounds 
of dispute, the steps in the reconciliation and the reasons for it, the 
light thrown on the character of the two participants, also the 
dramatic significance of the scene. 

11. A comparison of Brutus's bearing when he spoke of Portia's 
death with that of Macbeth when he received word of Lady 
Macbeth's death. 

12. Caesar's ghost: its significance, reason for its appearance to 
Brutus rather than to Cassius; comparison with the apparitions in 
Macbeth and Hamlet. 

13. A study of the structure of the play, noting the character of 
each act, the dramatic purpose of each scene, the height of the 
climax, the dominant force in Acts iv and v, the steps by which 
the audience is prepared for the crises of the play. 

14. The dramatic significance of various episodes and apos- 
trophes. For example: i. 2. 190-214; ii. 2. 120-125; iii. i. 148- 
150; iv. 3. 124-138; 147-157; 239-274; 275-288; v. I. 27-66. 

15. A study of Shakespeare's dramatic devices. For example : 
i. 2. 89, as furnishing the key to Brutus's character, to be followed 
throughout the play; the significance of i. 2. 19 in Brutus's mouth, 
also ii. I. 40; the effect on the audience of ii. 2. 120-123, ^i^d of 
the Asides ; the effect of iii. i. 31, 32; 60; 74. 

16. A study of the use of the short and broken verse in this play. 

31 



32 Julius Caesar 

SHAKESPEARE'S VERSE 

Julius CcEsar, like all Shakespeare's plays, is written in blank 
verse; as is the case in his other plays, there are occasional pas- 
sages in prose; rhyme is sometimes used to indicate to the audience 
the end of a scene; see i. 2; v. 3; v. 5. Blank verse (so called 
because it does not rhyme) is the iambic pentameter verse, consist- 
ing of five feet, of two syllables each, with the accent on the second 
syllable in each foot. 

The cause | is in | my will : || I will | not come; ii. 2. 71. 

judge|ment! || thou | art fled | to brut|ish beasts; iii. 2. 109. 

There are many variations on this normal form, introduced by 
Shakespeare to increase the beauty and power of his poetry. Some 
of the most frequent are 

1. A change of accent : 

Wherefore | rejoice? || What conlquest brings | he home ? i. i. 37. 

Dearer | than Plujtus' mine, || richer | than gold. iv. 3. 102. 

2. An additional syllable : 

Hated | by one | he loves; || braved by | his broth|er. iv. 3. 95. 

Rememlber March, || the ides i of March | lememlber. iv. 3. 18. 

Let me see, | let me see, || is not | the leaf | turned down, iv. 3. 273. 

3. A syllable slurred in pronunciation : 

1 had rath|erbe | a dog, || and bay | the moon. iv. 3. 27. 

Whether Cse[sar will | come forth | to-day || or no. ii. i. 194. 

The student should train his ear to Shakespeare's verse by read- 
ing aloud, for so only will he get the spirit and power and beauty 
of the poetry. He will find that there are many other variations 
on the norm, but as he gains feeling for the rhythm, he will have 
no difficulty in recognizing, for instance, changes in pronunciation; 
and he will soon come to feel how the master has made his verse 
conform to the thought and feeling of the occasion. The pupil 
should also observe Shakespeare's management of the sentence and 
note the effect produced by bringing it to a close in the middle of a 
verse. The casura, or pause for breath, in the body of the verse 
should also be considered for good reading, and the student will 
recognize how much of the melody of the poetry comes from the 
variety in the position of the cnssural pause. 



THE TRAGEDY OF JULIUS C^SAR 



DRAMATIS PERSONS 



Julius C/Esar. 

OcTAVius C/ESAR, ] tHumvirs after 

Marcus Antonius, j- the death of 

M.i^MiL. Lepidus,J Julius Caesar. 

Cicero, -] 

PuBLius, r senators. 

PopiLius Lena, J 

Marcus Brutus, ~| 

Cassius, j 

Casca, 

Trebonius, 

LiGARIUS, 

Decius Brutus, 
Metellus Cimber, 

CiNNA, 

Flavius and Marullus, tribunes. 
Artemidorus of Cnidos, a teacher of 

Rhetoric. 
A Soothsayer. 



I conspirators 
!- against Julius 
Caesar. 



Cinna, a poet. Another Poet. 
LuciLius, ^ 



friends to Brutus and 
Cassius. 



servants to Brutus. 



TiTINIUS, 

Messala, 

Young Cato 

volumnius, 

Varro, 

Clitus, 

Claudius, 

Strato, 

Lucius, 

Dardanius, 

PiNDARus, servant to Cassius. 

Calpurnia, wife to Caesar. 
Portia, wife to Brutus, 

Senators, Citizens, Guards, Attend- 
ants, &c. 



Scene: Rome; the neighbotirhood of Sardis ; the neighbourhood of 
PhiUppi. 



ACT I 

Scene I. Rome. A street 

Enter Flavius, Marullus, and Certain Commoners 

Flavius. Hence ! home, you idle creatures, get you 
home : 
Is this a holiday ? what ! know you not. 
Being mechanical, you ought not walk 

3. mechanical, mechanics or tradespe(.)ple. 
JULIUS C.T.SAR — 3 Z3 



34 Julius Caesar [Act i 

Upon a labouring day without the sign 

Of your profession ? Speak, what trade art thou ? 

First Commoner. Why, sir, a carpenter. 

Marullus. Where is thy leather apron and thy rule ? 
What dost thou with thy best apparel on ? 
You, sir, what trade are you ? 

Second Com?no?ier. Truly, sir, in respect of a fine 
workman, I am but, as you would say, a cobbler, n 

Marullus. But what trade art thou ? answer me directly. 

Second Commoner. A trade, sir, that, I hope, I may 
use with a safe conscience ; which is indeed, sir, 
a mender of bad soles. 

Marullus. What trade, thou knave ? thou naughty 
knave, what trade ? 

Second Commo?ier. Nay, I beseech you, sir, be not 
out with me : yet, if you be out, sir, I can mend 
you. 

Marullus. What mean'st thou by that? mend me, 20 
thou saucy fellow ! 

Second Commoner. Why, sir, cobble you. 

Flavius. Thou art a cobbler, art thou ? 

Second Commoner. Truly, sir, all that I live by is 
with the awl : I meddle with no tradesman's mat- 
ters, nor women's matters, but with awl. I am 
indeed, sir, a surgeon to old shoes ; when they 
are in great danger, I re-cover them. As proper 
men as ever trod upon neats-leather have gone 
upon my handiwork. 30 

Flavius. But wherefore art not in thy shop to-day ? 



Scene I] Julius Caesar ^^ 

Why dost thou lead these men about the streets ? 

Second Commoner. Truly, sir, to wear out their shoes, 
to get myself into more work. But indeed, sir, 
we make hoHday, to see Caesar and to rejoice in 
his triumph. 

MaruUus. Wherefore rejoice ? What conquest brings 
he home ? 
What tributaries follow him to Rome, 
To grace in captive bonds his chariot-wheels ? 
You blocks, you stones, you worse than senseless 
things ! 40 

O you hard hearts, you cruel men of Rome, 
Knew you not Pompey ? Many a time and oft 
Have you climb'd up to walls and battlements. 
To towers and windows, yea, to chimney-tops. 
Your infants in your arms, and there have sat 
The live-long day with patient expectation 
To see great Pompey pass the streets of Rome ; 
And when you saw his chariot but appear. 
Have you not made an universal shout. 
That Tiber trembled underneath her banks 50 

To hear the replication of your sounds 
Made in her concave shores ? 
And do you now put on your best attire ? 
And do you now cull out a holiday ? 
And do you now strew flowers in his way 
That comes in triumph over Pompey's blood ? 
Be gone ! 

51. replication, reverberation, echo. 



36 Julius Caesar [Act I 

Run to your houses, fall upon your knees, 

Pray to the gods to intermit the plague 

That needs must light on this ingratitude. 60 

Flavius. Go, go, good countrymen, and, for this fault, 
Assemble all the poor men of your sort ; 
Draw them to Tiber banks and weep your tears 
Into the channel, till the lowest stream 
Do kiss the most exalted shores of all. 

\Exeunt all the Commoners. 
See, whether their basest metal be not moved ; 
They vanish tongue-tied in their guiltiness. 
Go you down that way towards the Capitol ; 
This way will I : disrobe the images, 
If you do find them deck'd with ceremonies. 70 

Marullus. May we do so ? 

You know it is the feast of Lupercal.**^ 

Flavius. It is no matter ; let no images 

Be hung with Caesar's trophies. I'll about. 

And drive away the vulgar from the streets : 

So do you too, where you perceive them thick. 

These growing feathers pluck'd from Caesar's wing 

Will make him fiy an ordinary pitch, 

Who else would soar above the view of men 

And keep us all in servile fearfulness. [Exeunt. "60 



Scene II] Julius Caesar 3y 



Scene II. A public place 

Flourish. Enter C^sar ; Antony, for the cojiise ; 
Calpurnia, Portia, Decius, Cicero, Brutus, Cas- 
sius, and Casca ; a great crowd following^ a?nong the7n 
a Soothsayer 

Ccesar. Calpurnia ! 

Casca. Peace, ho ! Caesar speaks. 

\^Music ceases. 
CcBsar. Calpurnia ! 

Calpurnia. Here, my lord. 
Ccesar. Stand you directly in Antonius' way, 

When he doth run his course. Antonius ! 
Antony. Caesar, my lord ? 
Caesar. Forget not, in your speed, Antonius, 

To touch Calpurnia ; for our elders say, 

The barren, touched in this holy chase, 

Shake off their sterile curse. 
Antony. I shall remember : 

When Caesar says ' do this,' it is perform 'd. lo 

Ccesar. Set on, and leave no ceremony out. [Flourish. 
Soothsayer. Caesar ! 
Ccesar. Ha ! who calls ? 

Cassius. Bid every noise be still : peace yet again 1 
Ccesar. Who is it in the press that calls on me ? 

I hear a tongue, shriller than all the music, 

Cry ' Caesar.' Speak ; Caesar is turn'd to hear. 
Soothsayer. Beware the ides of March. 



38 Julius Cassar [Act I 

Ccesar. What man is that ? 

Brutus, A soothsayer bids you beware the ides of 

March. 
Ccesar. Set him before me ; let me see his face. 20 
Cassius. Fellow, come from the throng; look upon 

Caesar. 
Ccesar. What say'st thou to me now ? speak once again. 
Soothsayer. Beware the ides of March. 
Ccesar. He is a dreamer ; let us leave him : pass. 

\_Sen71et. Exeunt all but Brutus and Cassius. 
Cassius. Will you go see the order of the course ? 
Brutus. Not I. 
Cassius. I pray you, do. 
Brutus. I am not gamesome : I do lack some part 

Of that quick spirit that is in Antony. 

Let me not hinder, Cassius, your desires ; 30 

I'll leave you. 
Cassius. Brutus, I do observe you now of late : 

I have not from your eyes that gentleness 

And show of love as I was wont to have : 

You bear too stubborn and too strange a hand 

Over your friend that loves you. 
Brutus. Cassius, 

Be not deceived : if I have veil'd my look, 

I turn the trouble of my countenance 

Merely upon myself. Vexed I am 

Of late with passions of some difference, 40 

Conceptions only proper to myself, 
19. soothsayer, fortune teller. 



Scene II] Julius Caesar 39 

Which give some soil perhaps to my behaviours ; 
But let not therefore my good friends be grieved — 
Among which number, Cassius, be you one — 
Nor construe any further my neglect 
Than that poor Brutus with himself at war 
Forgets the shows of love to other men. 

Cassius. Then, Brutus, I have much mistook your 
passion ; 
By means whereof this breast of mine hath buried 
Thoughts of great value, worthy cogitations. 50 

Tell me, good Brutus, can you see your face ? 

Brutus. No, Cassius ; for the eye sees not itself 
But by reflection, by some other things. 

Cassius. 'Tis just : 

And it is very much lamented, Brutus, 

That you have no such mirrors as will turn 

Your hidden worthiness into your eye. 

That you might see your shadow. I have heard 

Where many of the best respect in Rome, 

Except immortal Caesar, speaking of Brutus, 60 

And groaning underneath this age's yoke. 

Have wish'd that noble Brutus had his eyes. 

Brutus. Into what dangers would you lead me, Cassius, 
That you would have me seek into myself 
For that which is not in me ? 

Cassius. Therefore, good Brutus, be prepared to hear : 
And since you know you cannot see yourself 
So well as by reflection, I your glass 
Will modestly discover to yourself 



40 Julius Caesar [Act I 

That of yourself which you yet know not of. 70 

And be not jealous on me, gentle Brutus : 

Were I a common laugher, or did use 

To stale with ordinary oaths my love 

To every new protester ; if you know 

That I do fawn on men and hug them hard, 

And after scandal them ; or if you know 

That I profess myself in banqueting 

To all the rout, then hold me dangerous. 

\Floiirish and shout. 

Brutus. What means this shouting? I do fear, the 
people 
Choose Caesar for their king. 

Cassius. Ay, do you fear it ? So 

Then must I think you would not have it so. 

Brutus. I would not, Cassius, yet I love him well. 
But wherefore do you hold me here so long ? 
What is it that you would impart to me ? 
If it be aught toward the general good, 
Set honour in one eye and death i' the other, 
And I will look on both indifferently : 
For let the gods so speed me as I love 
The name of honour more than I fear death. 

Cassius. I know that virtue to be in you, Brutus, 90 
As well as I do know your outward favour. 
Well, honour is the subject of my story. 
I cannot tell what you and other men 
Think of this life, but, for my single self, 
I had as lief not be as live to be 



Scene II] JuHus Caesar 41 

In awe of such a thing as I myself. 

I was born free as Caesar ; so were you : 

We both have fed as well, and we can both 

Endure the winter's cold as well as he : 

For once, upon a raw and gusty day, 100 

The troubled Tiber chafing with her shores, 

Caesar said to me ' Barest thou, Cassius, how 

Leap in with me into this angry flood, 

And swim to yonder point ? ' Upon the word, 

Accoutred as I was, I plunged in 

And bade him follow : so indeed he did. 

The torrent roar'd, and we did buffet it 

With lusty sinews, throwing it aside 

And stemming it with hearts of controversy ; 

But ere we could arrive the point proposed, no 

Caesar cried * Help me, Cassius, or I sink ! ' _^ 

I, as ^neas our great ancestor 

Did from the flames of Troy upon his shoulder 

The old Anchises bear, so from the waves of Tiber 

Did I the tired Caesar : and this man 

Is now become a god, and Cassius is 

A wretched creature, and must bend his body 

If Caesar carelessly but nod on him. 

He had a fever when he was in Spain, 

And when the fit was on him, I did mark 120 

How^ he did shake : 'tis true, this god did shake ; 

His coward lips did from their colour fly. 

And that same eye whose bend doth awe the world 

Did lose his lustre : I did hear him groan : 



42 Julius Caesar [Act i 

Ay, and that tongue of his that bade the Romans 

Mark him and write his speeches in their books, 

Alas, it cried, 'Give me some drink, Titinius,' 

As a sick girl. Ye gods ! it doth amaze me 

A man of such a feeble temper should 

So get the start of the majestic world 130 

And bear the palm alone. {Shout. Flourish. 

Brutus. Another general shout ! 

I do beheve that these applauses are 

For some new honours that are heap'd on Caesar. 

Cassius. Why, man, he doth bestride the narrow world 
Like a Colossus, and we petty men 
Walk under his huge legs and peep about 
To find ourselves dishonourable graves. 
Men at some time are masters of their fates : 
The fault, dear Brutus, is not in our stars, 140 

But in ourselves, that we are underlings. 
Brutus, and Caesar : what should be in that Caesar ? 
Why should that name be sounded more than yours ? 
Write them together, yours is as fair a name ; 
wSound them, it doth become the mouth as well ; 
Weigh them, it is as heavy ; conjure with 'em, 
Brutus will start a spirit as soon as Caesar. 
Now, in the names of all the gods at once, 
Upon what meat doth this our Caesar feed, ' 149 
That he is grown so great ? Age, thou art shamed ! 
Rome, thou hast lost the breed of noble bloods ! 
When went there by an age, since the great flood. 
But it was famed with more than with one man ? 



Scene II] Julius Caesar 43 

When could they say till now that talk'd of Rome 
That her wide walls encompass 'd but one man ? 
Now is it Rome indeed, and room enough, 
When there is in it but one only man. 
O, you and I have heard our fathers say 
There was a Brutus once that would have brook'd 
The eternal devil to keep his state in Rome 160 

As easily as a king. 

Brutus. That you do love me, I am nothing jealous ; 
What you would work me to, I have some aim : 
How I have thought of this and of these times, 
I shall recount hereafter ; for this present, 
I would not, so with love I might entreat you. 
Be any further moved. What you have said 
I will consider ; what you have to say 
I will with patience hear, and find a time 
Both meet to hear and answer such high things. 170 
Till then, my noble friend, chew upon this : 
Brutus had rather be a villager 
Than to repute himself a son of Rome 
Under these hard conditions as this time 
Is like to lay upon us. 

Cassius. I am glad that my weak words 

Have struck but thus much show of fire from Brutus. 

Brutus. The games are done, and Caesar is returning. 

Cassius. As they pass by, pluck Casca by the sleeve ; 
And he will, after his sour fashion, tell you 180 

What hath proceeded worthy note to-day. 
171. chew upon this, think this over. 



44 Julius Caesar [Act I 

Re-enter Cesar and his Train 

Brutus. I will do so : but, look you, Cassius, 
The angry spot doth glow on Caesar's brow, 
And all the rest look like a chidden train : 
Calpurnia's cheek is pale, and Cicero 
Looks with such ferret and such fiery eyes 
As we have seen him in the Capitol, 
Being cross'd in conference by some senators. 

Cassius. Casca will tell us what the matter is. 

Ccesar. Antonius ! 190 

Antony. Caesar ? 

CcBsar. Let me have men about me that are fat. 
Sleek-headed men, and such as sleep o' nights : 
Yond Cassius has a lean and hungry look ; 
He thinks too much : such men are dangerous. 

Antony. Fear him not, Caesar ; he's not dangerous ; 
He is a noble Roman, and well given. 

CcBsar'. Would he were fatter ! but I fear him not : 
Yet if my name were liable to fear, 
I do not know the man I should avoid 200 

So soon as that spare Cassius. He reads much ; 
He is a great observer, and he looks 
Quite through the deeds of men : he loves no plays, 
As thou dost, Antony ; he hears no music : 
Seldom he smiles, and smiles in such a sort 
As if he mock'd himself, and scorn 'd his spirit 
That could be moved to smile at any thing. 

186. ferret, sharp. 197. given, disposed. 



Scene II] Julius Caesar 45 

Such men as he be never at heart's ease 
Whiles they behold a greater than themselves, 
And therefore are they very dangerous. 210 

I rather tell thee what is to be fear'd 
Than what I fear ; for always I am Csesar. 
Come on my right hand, for this ear is deaf. 
And tell me truly what thou think'st of him. 

\Sen7iet. Exeunt Ccrsar and 
all his Train but Casca. 

Casca. You pull'd me by the cloak ; would you speak 
with me ? 

Brutus. Ay, Casca ; tell us what hath chanced to-day, 
That Csesar looks so sad. 

Casca. Why, you were with him, were you not? 

Brutus. I should not then ask Casca what had chanced. 

Casca. Why, there was a crown offered him : and 220 
being offered him, he put it by with the back of 
his hand, thus : and then the people fell a- 
shouting. 

Brutus. What was the second noise for ? 

Casca. Why, for that too. 

Cassius. They shouted thrice : what was the last cry 
for? 

Casca. Why, for that too. 

Brutus. Was the crown offered him thrice ? 

Casca. Ay, marry, was't, and he put it by thrice, 
every time gentler than other ; and at every put- 230 
ting by mine honest neighbours shouted. 

Cassius. Who offered him the crown ? 



46 Julius Caesar [Act I 

Casca. Why, Antony. 

Brutus. Tell us the manner of it, gentle Casca. 

Casca. I can as well be hang'd as tell the manner of 
it : it was mere foolery ; I did not mark it. I 
saw Mark Antony offer him a crown : yet 'twas 
not a crown neither, 'twas one of these coronets : 
and, as I told you, he put it by once : but for 
all that, to my thinking, he would fain have had 240 
it. Then he offered it to him again ; then he 
put it by again : but, to my thinking, he was very 
loath to lay his fingers off it. And then he offered 
it the third time ; he put it the third time by : and 
still as he refused it, the rabblement hooted and 
clapped their chopped hands and threw up 
their sweaty night-caps and uttered such a deal 
of stinking breath because Caesar refused the 
crown, that it had almost choked Csesar ; for he 
swounded and fell down at it: and for mine 250 
own part, I durst not laugh, for fear of opening 
my lips and receiving the bad air. 

Cassius. But, soft, I pray you : what, did Caesar 
swound ? 

Casca. He fell down in the market-place and 
foamed at mouth and was speechless. 

Brutus. 'Tis very like : he hath the falling-sickness. 

Cassius. No, Caesar hath it not : but you, and I, 
And honest Casca, we have the falling-sickness. 

245. rabblement, rabble. 246. chopped, chapped. 250. swotmded, 
swooned, fainted. 



Scene II] Julius Caesar 47 

Casca. I know not what you mean by that, but I am 
sure Caesar fell down. If the tag-rag people 260 
did not clap him and hiss him according as he 
pleased and displeased them, as they use to do 
the players in the theatre, I am no true man. 

Brutus. What said he when he came unto himself ? 

Casca. Marry, before he fell down, when he per- 
ceived the common herd was glad he refused the 
crown, he plucked me ope his doublet and offered 
them his throat to cut. An I had been a man of 
any occupation, if I would not have taken him 
at a word, I would I might go to hell among 270 
the rogues. And so he fell. When he came to 
himself again, he said, if he had done or said any 
thing amiss, he desired their worships to think it 
was his infirmity. Three or four wenches, where 
I stood, cried ' Alas, good soul ! ' and forgave 
him with all their hearts : but there's no heed 
to be taken of them ; if Caesar had stabbed their 
mothers, they would have done no less. 

Brutus. And after that, he came, thus sad, away ? 

Casca. Ay. 280 

Cassius. Did Cicero say any thing ? 

Casca. Ay, he spoke Greek. 

Cassius. To what effect ? 

Casca. Nay, an I tell you that, I'll ne'er look you 
i' the face again : but those that understood him 
smiled at one another and shook their heads ; 
260. tag-rag people, the mob. 



48 Julius Caesar [Act i 

but for mine own part, it was Greek to me. I 
could tell you more news too : MaruUus and 
Flavius, for pulling scarfs off Caesar's images, 
are put to silence. Fare you well. There was 290 
more foolery yet, if I could remember it. 

Cassius. Will you sup with me to-night, Casca ? O 

Casca. No, I am promised forth. 

Cassius. Will you dine with me to-morrow ? 

Casca. Ay, if I be alive, and your mind hold, and 
your dinner worth the eating. 

Cassius. Good ; I will expect you. 

Casca. Do so : farewell, both. \Exit. 

Brutus. What a blunt fellow is this grown to be ! 

He was quick metal when he went to school. 300 

Cassius. So is he now in execution 
Of any bold or noble enterprise. 
However he puts on this tardy form. 
This rudeness is a sauce to his good wit. 
Which gives men stomach to digest his words 
With better appetite. 

Brutus. And so it is. For this time I will leave you ; 
To-morrow, if you please to speak with me, 

"^ I will come home to you, or, if you will, 

Come home to me and I will wait for you. 310 

Cassius. I will do so : till then, think of the world. 

\_Exit Brutus. 
Well, Brutus, thou art noble ; yet, I see. 
Thy honourable metal may be wrought 
From that it is disposed : therefore it is meet 



Scene III] Julius Caesar 49 

That noble minds keep ever with their Hkes ; 

For who so firm that cannot be seduced ? 

Caesar doth bear me hard ; but he loves Brutus : 

If I were Brutus now and he were Cassius, 

He should not humour me. I will this night, 

In several hands, in at his windows throw, 320 

As if they came from several citizens, 

Writings, all tending to the great opinion 

That Rome holds of his name, wherein obscurely 

Caesar's ambition shall be glanced at : 

And after this let Caesar seat him sure ; 

For we will shake him, or worse days endure. 

\^Exit. 

Scene III. A street 

Thundei' and lightning. Enter, from opposite sides, 
Casca, with his sword drawn, and Cicero 

A Cicero. Good even, Casca : brought you Caesar home ? 
Why are you breathless ? and why stare you so ? 
Casca. Are not you moved, when all the sway of earth 
Shakes like a thing unfirm ? O Cicero, 
I have seen tempests, when the scolding winds 
Have rived the knotty oaks, and I have seen 
The ambitious ocean swell and rage and foam. 
To be exalted with the threatening clouds ; 
But never till to-night, never till now. 
Did I go through a tempest dropping fire. 10 

4. unfirm, not tirm. 6. rived, split. 
JULIUS C^SAR — 4 



^o Julius Caesar [Act i 

Either there is a civil strife in heaven, 
Or else the world too saucy with the gods 
Incenses them to send destruction. 

Cicero. Why, saw you any thing more wonderful ? 

Casca. A common slave — you know him well by sight — 
Held up his left hand, which did flame and burn 
Like twenty torches join'd, and yet his hand 
Not sensible of fire remain 'd unscorch'd. 
Besides — I ha' not since put up my sword — 
Against the Capitol I met a lion, 20 

Who glazed upon me and went surly by 
Without annoying me : and there were drawn 
Upon a heap a hundred ghastly women 
Transformed with their fear, who swore they saw 
Men all in fire walk up and down the streets. 
And yesterday the bird of night did sit 
Even at noon-day upon the market-place, 
Hooting and shrieking. When these prodigies 
Do so conjointly meet, let not men say 
* These are their reasons : they are natural : ' 30 

For, I believe, they are portentous things 
Unto the climate that they point upon. 

Cicero. Indeed, it is a strange-disposed time : 

But men may construe things after their fashion, 
Clean from the purpose of the things themselves, 
w Comes Caesar to the Capitol to-morrow ? 

Casca. He doth ; for he did bid Antonius 

Send word to you he would be there to-morrow. 
21. glazed, glared. 31. portentous, ominous. 



Scene III] Julius Caesar 5 1 

Cicero. Good night then, Casca : this disturbed sky 

Is not to walk in. 
Casca. Farewell, Cicero. \_Exit Cicero. 40 

Efiter Cassius 

Cassius. Who's there ? 

Casca. A Roman. 

Cassius. Casca, by your voice. 

Casca. Your ear is good. Cassius, what night is this ! \ 

Cassius. A very pleasing night to honest men. 

Casca. Who ever knew the heavens menace so ? 

Cassius. Those that have known the earth so full of 
faults. 
For my part, I have walk'd about the streets, 
Submitting me unto the perilous night. 
And thus unbraced, Casca, as you see. 
Have bared my bosom to the thunder-stone ; 
And when the cross blue lightning seem'd to open 
The breast of heaven, I did present myself 51 

Even in the aim and very flash of it. 

Casca. But wherefore did you so much tempt the 
heavens ? 
It is the part of men to fear and tremble 
When the most mighty gods by tokens send 
Such dreadful heralds to astonish us. 

Cassius. You are dull, Casca, and those sparks of life 
That should be in a Roman you do want. 
Or else you use not. You look pale and gaze 
And put on fear and cast yourself in wonder, 60 



52 Julius Caesar [Act i 

To see the strange impatience of the heavens . 

But if you would consider the true cause 

Why all these fires, why all these gliding ghosts, 

Why birds and beasts from quality and kind, 

Why old men fool and children calculate, 

Why all these things change from their ordinance, 

Their natures and preformed faculties. 

To monstrous quality, why, you shall find 

That heaven hath infused them with these spirits 

To make them instruments of fear and warning 70 

Unto some monstrous state. 

Now could I, Casca, name to thee a man 

Most like this dreadful night. 

That thunders, lightens, opens graves, and roars 

As doth the lion in the Capitol, 

A man no mightier than thyself or me 

In personal action, yet prodigious grown 

And fearful, as these strange eruptions are. 

Casca. 'Tis Caesar that you mean ; is it not, Cassius ? 

Cassius. Let it be who it is : for Romans now 80 

Have thews and limbs like to their ancestors ; 
But, woe the while ! our fathers' minds are dead. 
And we are govern'd with our mothers' spirits ; 
Our yoke and sufferance show us womanish. 
^ Casca. Indeed they say the senators to-morrow 
Mean to establish Caesar as a king ; 
And he shall wear his crown by sea and land, 

64. frot7i quality, contrary to their quality. 66. ordinance^ 
order, course. 68. monstrous quality, unnatural course. 



Scene III] Julius Caesar 53 

In every place save here in Italy. 

Cassius. I know where I will wear this dagger then : 
Cassius from bondage will deliver Cassius. 90 

Therein, ye gods, you make the weak most strong ; 
Therein, ye gods, you tyrants do defeat : 
Nor stony tower, nor walls of beaten brass, 
Nor airless dungeon, nor strong links of iron. 
Can be retentive to the strength of spirit ; 
But life, being weary of these worldly bars, 
Never lacks power to dismiss itself. 
If I know this, know all the world besides. 
That part of tyranny that I do bear 
I can shake off at pleasure. . \Thunder still. 

Casca. So can 1 : 100 

So every bondman in his own hand bears 
The power to cancel his captivity. 

Cassius. And why should Caesar be a tyrant then ? 
Poor man ! I know he would not be a wolf 
But that he sees the Romans are but sheep : 
He were no lion, were not Romans hinds. 
Those that with haste will make a mighty fire 
Begin it with weak straws : what trash is Rome, 
What rubbish and what offal, when it serves 
For the base matter to illuminate no 

So vile a thing as Caesar ! But, O grief. 
Where hast thou led me ! I perhaps speak this 
Before a willing bondman ; then I know 
My answer must be made. But I am arm'd, 
95. be retentive to, restrain. 



54 Julius Caesar [Act I 

And dangers are to me indifferent. 

Casca. You speak to Casca, and to such a man 
That is no fleering tell-tale. Hold, my hand : 
Be factious for redress of all these griefs, 
And I will set this foot of mine as far 
As who goes farthest. 

Cassius. There's a bargain made. 120 

Now know you, Casca, I have moved already 
Some certain of the noblest-minded Romans 
To undergo with me an enterprise 
Of honourable-dangerous consequence ; 
And I do know, by this they stay for me 
In Pompey's porch : for now, this fearful night. 
There is no stir or walking in the streets, 
And the complexion of the element 
In favour's like the work we have in hand, 
Most bloody, fiery, and most terrible. 130 

Enter Cinna 

Casca. Stand close awhile, for here comes one in haste. 
Cassius. 'Tis Cinna ; I do know him by his gait ; 

He is a friend. Cinna, where haste you so ? 
Cinna. To find out you. Who's that ? Metellus Cimber ? 
Cassius. No, it is Casca ; one incorporate 

To our attempts. Am I not stay'd for, Cinna ? 
Cinna. I am glad on't. What a fearful night is this ! 

There's two or three of us have seen strange sights. 

117. y?^^ri«^, grinning. \\%, factious^ 2^c\\y^. 135. incorporate, 
closely united. 



Scene III] Julius Caesar 55 

Cassius. Am I not stay'd for? tell me! 

Cinna. Yes, you are. 

O Cassius, if you could 140 

But win the noble Brutus to our party — 

Cassius. Be you content : good Cinna, take this paper, 
And look you lay it in the praetor's chair, 
Where Brutus may but find it, and throw this 
In at his window ; set this up with wax 
Upon old Brutus' statue : all this done, 
Repair to Pompey's porch, where you shall find us. 
Is Decius Brutus and Trebonius there ? 

Cinna. All but Metellus Cimber; and he's gone 

To seek you at your house. Well, I will hie, 150 
And so bestow these papers as you bade me. 

Cassius. That done, repair to Pompey's theatre. 

\Exit Cinna. 
Come, Casca, you and I will yet ere day 
See Brutus at his house : three parts of him 
Is ours already, and the man entire 
Upon the next encounter yields him ours. 

Casca. O, he sits high in all the people's hearts ; 
And that which would appear offence in us 
His countenance, like richest alchemy. 
Will change to virtue and to worthiness. 160 

Cassius. Him and his worth and our great need of him 

You have right well conceited. Let us go, 
\ For it is after midnight, and ere day 

We will awake him and be sure of him. \Exeunt. 
162. conceited, conceived. 



56 Julius Caesar [Act 11 

ACT II 

Scene I. Rome. Brutus^ s orchard 
Enter Brutus 

Brutus. What, Lucius, ho ! 

I cannot, by the progress of the stars, 
Give guess how near to day. Lucius, I say ! 
I would it were my fault to sleep so soundly. 
When, Lucius, when ? awake, I say 1 what, Lucius ! 
Enter Lucius 

Lucius. Call'd you, my lord ? 

Brutus. Get me a taper in my study, Lucius : 
When it is lighted, come and call me here. 

Lucius. I will, my lord. \^Exit. 

Brutus. It must be by his death : and, for my part, 10 
I know no personal cause to spurn at him. 
But for the general. He would be crown 'd : 
How that might change his nature, there's the 

question : 
It is the bright day that brings forth the adder ; 
And that craves wary walking. Crown him ? — 

that; — 
And then, I grant, we put a sting in him, 
That at his will he may do danger with. 
The abuse of greatness is when it disjoins 
Remorse from power : and, to speak truth of Caesar, 
I have not known when his affections sway'd 20 

More than his reason. But 'tis a common proof. 



Scene I] Julius Caesar 57 

That lowliness is young ambition's ladder, 

Whereto the climber-upward turns his face ; 

But when he once strains the upmost round, 

He then unto the ladder turns his back, 

Looks in the clouds, scorning the base degrees 

By which he did ascend : so Caesar may ; 

Then, lest he may, prevent. And, since the quarrel 

Will bear no colour for the thing he is. 

Fashion it thus ; that what he is, augmented, 30 

Would run to these and these extremities : 

And therefore think him as a serpent's egg 

Which hatch'd would as his kind grow mischievous, 

And kill him in the shell. 

Re-enter Lucius 

Lucius. The taper burneth in your closet, sir. 
Searching the window for a flint I found 
This paper thus seal'd up, and I am sure 
It did not lie there when I went to bed. 

S^Gives him the letter. 

Brutus. '■ Get you to bed again ; it is not day. 

Is not to-morrow, boy, the ides of March ? 40 

Lucius. I know not, sir. 

Brutus. Look in the calendar and bring me word. 

Lucius. I will, sir. \Exit. 

Brutus. The exhalations whizzing in the air 
Give so much light that I may read by them. 

\^Opens the letter and reads. 
* Brutus, thou sleep'st : awake and see thyself. 



58 Julius Caesar [Act II 

Shall Rome, &c. Speak, strike, redress. 

Brutus, thou sleep 'st : awake.' 

Such instigations have been often dropp'd 

Where I have took them up. 50 

' Shall Rome, &c.' Thus must I piece it out : 

Shall Rome stand under one man's awe ? What, 

Rome? 
My ancestors did from the streets of Rome 
The Tarquin drive, when he was call'd a king. 
' Speak, strike, redress.' Am I entreated 
To speak and strike ? O Rome, I make thee promise, 
If the redress will follow, thou receivest 
Thy full petition at the hand of Brutus ! 

Re-enter Lucius 

Lucius. Sir, March is wasted fifteen days. V 

\_Knocking within. 

Brutus. 'Tis good. Go to the gate ; somebody knocks, 

\Exit Lucius. 
Since Cassius first did whet me against Caesar 61 
I have not slept. 

Between the acting of a dreadful thing 
And the first motion, all the interim is 
Like a phantasma or a hideous dream : 
The Genius and the mortal instruments 
Are then in council, and the state of man, 
Like to a little kingdom, suffers then 
The nature of an insurrection. 

65. phantasma, vision. 66. mortal instruments, the passions. 



Scene I] Julius Caesar 59 

Re-enter Lucius 

Lucius, Sir, 'tis your brother Cassius at the door, 70 
Who doth desire to see you. 

Brutus. Is he alone ? 

Lucius. No, sir, there are moe with him. 

Brutus. Do you know them ? 

Lucius. No, sir ; their hats are pkick'd about their ears, 
And half their faces buried in their cloaks, 
That by no means I may discover them 
By any mark of favour. 

Brutus. Let 'em enter. \Exit Lucius. 

They are the faction. O conspiracy, 
Shamest thou to show thy dangerous brow by night, 
When evils are most free ? O, then, by day 
Where wilt thou find a cavern dark enough 80 

To mask thy monstrous visage? Seek none, 

conspiracy ; 
Hide it in smiles and affability : 
For if thou path, thy native semblance on, 
Not Erebus itself were dim enough 
To hide thee from prevention. 

Enter the conspirators, Cassius, Casca, Decius, Cinna, 
Metellus Cimber, and Trebonius 

Cassius. I think we are too bold upon your rest : 
Good morrow, Brutus ; do we trouble you ? >^ 

Brutus. I have been up this hour, awake all night. 
Know I these men that come along with you ? 
83. path, walk abroad. 85. prevention, detection. 



6o Julius Caesar [Act II 

Cassius. Yes, every man of them ; and no man here 90 

But honours you ; and every one doth wish 

You had but that opinion of yourself 

Which every noble Roman bears of you. 

This is Trebonius. 
Brutus. He is welcome hither. 

Cassius. This, Decius Brutus. 

Brutus. He is welcome too. 

Cassius. This, Casca ; this, Cinna ; and this, Metellus 

Cimber. 
Brutus. They are all welcome. 

What watchful cares do interpose themselves 

Betwixt your eyes and night ? 
Cassius. Shall I entreat a word ? \Theywhisper. 100 
Decius. Here lies the east: doth not the day break 

here? 
Casca. No. 
Cinna. O, pardon, sir, it doth, and yon grey lines 

That fret the clouds are messengers of day. 
Casca. You shall confess that you are both deceived. 

Here, as I point my sword, the sun arises ; 

Which is a great way growing on the south, 

Weighing the youthful season of the year. 

Some two months hence up higher toward the north 

He first presents his tire, and the high east no 

Stands as the Capitol, directly here. 
Brutus. Give me your hands all over, one by one. 
Cassius. And let us swear our resolution. 
Brutus. No, not an oath : if not the face of men, 



Scene I] Julius Caesar 6i 

The sufferance of our souls, the time's abuse, — 
If these be motives weak, break off betimes, 
And every man hence to his idle bed ; 
So let high-sighted tyranny range on 
Till each man drop by lottery. But if these, 
As I am sure they do, bear fire enough 120 

To kindle cowards and to steel w4th valour 
The melting spirits of women, then, countrymen, 
What need we any spur but our own cause 
To prick us to redress ? what other bond 
Than secret Romans that have spoke the word, 
And will not palter ? and what other oath 
Than honesty to honesty engaged 
That this shall be or we will fall for it ? 
Swear priests and cowards and men cautelous. 
Old feeble carrions and such suffering souls 130 

That welcome wrongs ; unto bad causes swear 
Such creatures as men doubt : but do not stain 
The even virtue of our enterprise. 
Nor the insuppressive mettle of our spirits, 
To think that or our cause or our performance 
Did need an oath ; when every drop of blood 
That every Roman bears, and nobly bears, 
Is guilty of a several bastardy 
If he do break the smallest particle 
Of any promise that hath pass'd from him. 140 

Cassius. But what of Cicero ? shall we sound him ? 

I think he will stand very strong with us. 
129. cautelous, crafty, 134. insuppressive, not to be suppressed. 



62 Julius Caesar [Act II 

Casca. Let us not leave him out. 

Cinna. No, by no means. 

Metellus. O, let us have him, for his silver hairs 
Will purchase us a good opinion, 
And buy men's voices to commend our deeds : 
It shall be said his judgement ruled our hands ; 
Our youths and wildness shall no whit appear, 
But all be buried in his gravity. 

Brutus, O, name him not : let us not break with him, 
For he will never follow any thing 151 

That other men begin. 

Cassius. Then leave him out. 

Casca. Indeed he is not fit. 

Decius. Shall no man else be touch'd but only Csesar ? 

Cassius. Decius, well urged : I think it is not meet 
Mark Antony, so well beloved of Ccesar, 
Should outlive Caesar : we shall find of him 
A shrewd contriver ; and you know his means. 
If he improve them, may well stretch so far 
As to annoy us all : which to prevent, 160 

Let Antony and Caesar fall together. 

Brutus. Our course wall seem too bloody, Caius Cassius, 
To cut the head off and then hack the limbs. 
Like wrath in death and envy afterw^ards ; 
For Antony is but a limb of Caesar : 
Let us be sacrificers, but not butchers, Caius. 
We all stand up against the spirit of Caesar, 
And in the spirit of men there is no blood : 
O, that we then could come by Caesar's spirit, 



Scene I] Julius Caesar 63 

And not dismember Csesar ! But, alas, 170 

Caesar must bleed for it ! And, gentle friends, 

Let's kill him boldly, but not wrathfully ; 

Let's carve him as a dish fit for the gods, 

Not hew him as a carcass fit for hounds : 

And let our hearts, as subtle masters do, 

Stir up their servants to an act of rage 

And after seem to chide 'em. This shall make 

Our purpose necessary and not envious : 

Which so appearing to the common eyes, 

We shall be call'd purgers, not murderers. 180 

And for Mark Antony, think not of him ; 

For he can do no more than Caesar's arm 

When Caesar's head is off. 

Cassius. Yet I fear him. 

For in the ingrafted love he bears to Caesar — 

Brutus. Alas, good Cassius, do not think of him : 
If he love Caesar, all that he can do 
Is to himself, take thought and die for Caesar : t 

And that were much he should, for he is given 
To sports, to wildness and much company. 

Trebonius. There is no fear in him ; let him not die ; 
For he will live and laugh at this hereafter. 191 

l^Clock strike s.\ 

Brutus. Peace ! count the clock. 

Cassius. The clock hath stricken three. 

Trebonius. 'Tis time to part. 

Cassius. But it is doubtful yet 

Whether Caesar will come forth to-day or no ; 



64 Julius Caesar [Act il 

For he is superstitious grown of late, 

Quite from the main opinion he held once 

Of fantasy, of dreams and ceremonies : 

It may be these apparent prodigies, 

The unaccustom'd terror of this night 

And the persuasion of his augurers, 200 

May hold him from the Capitol to-day. 

Decius. Never fear that : if he be so resolved, 
I can o'ersway him ; for he loves to hear 
That unicorns may be betray'd with trees 
And bears with glasses, elephants with holes, 
Lions with toils and men with flatterers : 
But when I tell him he hates flatterers. 
He says he does, being then most flattered. 
Let me work ; 

For I can give his humour the true bent, 210 

And I will bring him to the Capitol. 

Cassius. Nay, we will all of us be there to fetch him. 
-^Brutus. By the eighth hour : is that the uttermost ? 

Cinna. Be that the uttermost, and fail not then. 

Metellus. Caius Ligarius doth bear Caesar hard, 
Who rated him for speaking well of Pompey : 
I wonder none of you have thought of him. 

Brutus. Now, good Metellus, go along by him : 
He loves me well, and I have given him reasons ; 
Send him but hither, and I'll fashion him. 220 

sj Cassius. The morning comes upon's : we'll leave you, 
' Brutus : 

200. augurers, interpreters of omens. 



Scene I] Julius Caesar 65 

And, friends, disperse yourselves : but all remember 
What you have said and show yourselves true 
Romans. 
Brutus. Good gentlemen, look fresh and merrily; 
Let not our looks put on our purposes ; 
But bear it as our Roman actors do. 
With untired spirits and formal constancy : 
And so, good morrow to you every one, 

[^Exeunt all but Brutus. 
Boy ! Lucius ! Fast asleep ! It is no matter ; 
Enjoy the honey-heavy dew of slumber : 230 

Thou hast no figures nor no fantasies. 
Which busy care draws in the brains of men ; 
Therefore thou sleep'st so sound. 

Enter Portia 

Portia. Brutus, my lord ! 

Brutus. Portia, what mean you ? wherefore rise you 
now ? 
It is not for your health thus to commit 
Your weak condition to the raw cold morning.V 
Portia. Nor for yours neither. You've ungently, 
Brutus, 
Stole from my bed : and yesternight at supper 
You suddenly arose and walk'd about. 
Musing and sighing, with your arms across ; 240 

And when I ask'd you what the matter was, 
You stared upon me with ungentle looks : 
I urged you further ; then you scratch 'd your head, 
JULIUS c^sAR — 5 



66 Julius Caesar [Act ii 

And too impatiently stamp'd with your foot : 

Yet I insisted, yet you answer'd not, 

But with an angry wafture of your hand 

Gave sign for me to leave you : so I did, 

Fearing to strengthen that impatience 

Which seem'd too much enkindled, and withal 

Hoping it was but an effect of humour, 250 

Which sometime hath his hour with every man. 

It will not let you eat, nor talk, nor sleep, 

And, could it work so much upon your shape 

As it hath much prevail'd on your condition, 

I should not know you, Brutus. Dear my lord, 

Make me acquainted with your cause of grief. 

Brutus. I am not well in health, and that is all. 

Poi'tia. Brutus is wise, and, were he not in health, 
He would embrace the means to come by it. 

Brutus. Why, so I do : good Portia, go to bed. 260 

Portia. Is Brutus sick, and is it physical 

To walk unbraced and suck up the humours 

Of the dank morning ? What, is Brutus sick, 

And will he steal out of his wholesome bed, 

To dare the vile contagion of the night. 

And tempt the rheumy and unpurged air 

To add unto his sickness ? No, my Brutus ; 

You have some sick offence within your mind, 

Which by the right and virtue of my place 

I ought to know of : and, upon my knees, 270 

246. wafture, wave. 249. enkindled, aroused. 266. rheumy^ 
moist. 266. unpurged, air unpurged by the sun. 



Scene I] Julius Cassar 67 

I charm you, by my once commended beauty, 
By all your vows of love and that great vow 
Which did incorporate and make us one. 
That you unfold to me, yourself, your half, 
Why you are heavy, and what men to-night 
Have had resort to you ; for here have been 
Some six or seven, who did hide their faces 
Even from darkness. 

Brutus. Kneel not, gentle Portia. 

Portia. I should not need, if you were gentle Brutus. 
Within the bond of marriage, tell me, Brutus, 280 
Is it excepted I should know no secrets 
That appertain to you ? Am I yourself 
But, as it were, in sort or limitation. 
To keep with you at meals, comfort your bed. 
And talk to you sometimes ? Dwell I but in the 

suburbs 
Of your good pleasure ? If it be no more, 
Portia is Brutus' harlot, not his wife. 

Brutus, You are my true and honourable wife. 
As dear to me as are the ruddy drops 
That visit my sad heart. 290 

Portia. If this were true, then should I know this secret. 
I grant I am a woman, but withal 
A woman that Lord Brutus took to wife : 
I grant I am a woman, but withal 
A woman well reputed, Cato's daughter. 
Think you I am no stronger than my sex, 
273. incorpora/e, unite. 



68 Julius Caesar [Act ii 

Being so father'd and so husbanded ? 
Tell me your counsels, I will not disclose 'em : 
I have made strong proof of my constancy, 
Giving myself a voluntary wound 300 

Here in the thigh : can I bear that with patience 
And not my husband's secrets ? 
Bmtiis. O ye gods, 

Render me worthy of this noble wife ! 

\Kno eking within. 
Hark, hark ! one knocks : Portia, go in a while ; 
And by and by thy bosom shall partake 
The secrets of my heart : 
All my engagements I will construe to thee, 
All the charactery of my sad brows. 
Leave me with haste. \Exii Portia?\ Lucius, 
who's that knocks ? 

Re-e7iter Lucius with Ligarius 

Lucius. Here is a sick man that would speak with 
you. 310 

Brutus. Caius Ligarius, that Metellus spake of. 

Boy, stand aside. Caius Ligarius ! how ? 
Ligarius. Vouchsafe good morrow from a feeble tongue. 
Brutus. O, what a time have you chose out, brave 
Caius, 
To wear a kerchief ! Would you were not sick ! 
Ligarius. I am not sick, if Brutus have in hand 
Any exploit worthy the name of honour. 

307. construe, explain. 308. charactery, writing. 



Scene II] Julius Caesar 69 

Brutus. Such an exploit have I in hand, Ligarius, 
Had you a healthful ear to hear of it. 

Ligarius. By all the gods that Romans bow before, 320 
I here discard my sickness ! Soul of Rome ! 
Brave son, derived from honourable loins I 
Thou, like an exorcist, hast conjured up 
My mortified spirit. Now bid me run. 
And I will strive with things impossible. 
Yea, get the better of them. What's to do ? 

Bj'utus. A piece of work that will make sick men whole. 

Ligarius. But are not some whole that we must make 
sick? 

Brutus. That must we also. What it is, my Caius, 
I shall unfold to thee, as we are going 330 

To whom it must be done. 

Ligarius. Set on your foot, 

And with a heart new-fired I follow you. 
To do I know not what : but it sufficeth 
That Brutus leads me on. 

Brutus. Follow me then. \Exeunt. 

Scene II. Casar'^s house 

Thunder and lightniiig. Enter Caesar, in his night-gown 

Ccesar. Nor heaven nor earth have been at peace to- 
night : V 
Thrice hath Calpurnia in her sleep cried out, 
' Help, ho ! they murder Caesar ! ' Who's within ? 

324. mortified, deadened. 



yo Julius Caesar [Act ii 

Enter a Servant 

Servant. My lord ? 

Ccesar. Go bid the priests do present sacrifice, 
And bring me their opinions of success. 

Servant. 1 will, my lord. \Exit. 

Enter Calpurnia 

Calpurnia. What mean you, Caesar ? think you to 
walk forth ? 
You shall not stir out of your house to-day. \ 

Ccesar. Caesar shall forth : the things that threaten 'd 
me lo 

Ne'er look'd but on my back ; when they shall see 
The face of Caesar, they are vanished. 

Calpurnia. Caesar, I never stood on ceremonies. 
Yet now they fright me. There is one within. 
Besides the things that we have heard and seen, 
Recounts most horrid sights seen by the watch. 
A lioness hath whelped in the streets ; 
And graves have yawn'd, and yielded up their dead ; 
Fierce fiery warriors fight upon the clouds. 
In ranks and squadrons and right form of war, 20 
Which drizzled blood upon the Capitol ; 
The noise of battle hurtled in the air, 
Horses did neigh and dying men did groan. 
And ghosts did shriek and squeal about the streets. 
O Caesar ! these things are beyond all use, 
And I do fear them. 

5. present, immediate. 22. hurtled, clashed. 



Scene II] Julius Caesar 71 

Ccesar. What can be avoided 

Whose end is purposed by the mighty gods ? 
Yet Caesar shall go forth ; for these predictions 
Are to the world in general as to Caesar. 

Calpurnia. When beggars die, there are no comets 
seen ; 30 

The heavens themselves blaze forth the death of 
princes. 

Ccesar. Cowards die many times before their death ; 
The valiant never taste of death but once. 
Of all the wonders that I yet have heard, 
It seems to me most strange that men should fear ; 
Seeing that death, a necessary end, 
Will come when it will come. 

Re-enter Servant 

What say the augurers ? 

Servant. They would not have you to stir forth to-day. ' 
Plucking the entrails of an offering forth, 
They could not find a heart within the beast. 40 

Ccesar. The gods do this in shame of cowardice : 
Caesar should be a beast without a heart 
If he should stay at home to-day for fear. 
No, Caesar shall not : danger knows full well 
That Caesar is more dangerous than he : 
We are two lions litter'd in one day. 
And I the elder and more terrible : 
And Caesar shall go forth. 

37, augurerSf soothsayers. 



72 Julius Caesar [Act ii 

Calpurnia. Alas, my lord, 

Your wisdom is consumed in confidence. 
Do not go forth to-day : call it my fear 50 

That keeps you in the house and not your own. 
We'll send Mark Antony to the senate-house, 
And he shall say you are not well to-day : 
Let me, upon my knee, prevail in this. 

Ccesar. Mark Antony shall say I am not well, 
And, for thy humour, I will stay at home. 

Enter Decius 

Here's Decius Brutus, he shall tell them so. 

Decius. Caesar, all hail ! good morrow, worthy Caesar : 
I come to fetch you to the senate-house. 

Ccesar. And you are come in very happy time, 60 

To bear my greeting to the senators 
And tell them that I will not come to-day : 
Cannot, is false, and that I dare not, falser : 
I will not come to-day : tell them so, Decius. 

Calpurnia. Say he is sick. 

Ccesar. Shall Caesar send a lie ? 

Have I in conquest stretch 'd mine arm so far. 
To be afeard to tell greybeards the truth ? 
Decius, go tell them Caesar will not come. 

Decius. Most mighty Caesar, let me know some cause. 
Lest I be laugh 'd at when I tell them so. 70 

Ccesar. The cause is in my will : I will not come ; 
That is enough to satisfy the senate. 
But, for your private satisfaction. 



Scene II] Julius Caesar 73 

Because I love you, I will let you know. 
Calpurnia here, my wife, stays me at home : 
She dreamt to-night she saw my statua. 
Which like a fountain with an hundred spouts 
Did run pure blood, and many lusty Romans 
Came smiling and did bathe their hands in it : 
And these does she apply for warnings, and portents 
And evils imminent, and on her knee 81 

Hath begg'd that I will stay at home to-day. 

Deems. This dream is all amiss interpreted ; 
It was a vision fair and fortunate : 
Your statue spouting blood in many pipes, 
In which so many smiling Romans bathed. 
Signifies that from you great Rome shall suck 
Reviving blood, and that great men shall press 
For tinctures, stains, relics and cognizance. 
This by Calpurnia's dream is signified. go 

Ccesar. And this way have you well expounded it. 

Decius. I have, when you have heard what I can say : 
And know it now : the senate have concluded 
To give this day a crown to mighty Caesar. 
If you shall send them word you will not come, 
Their minds may change. Besides, it were a mock 
Apt to be render'd, for some one to say 
' Break up the senate till another time, 
When Caisar's wife shall meet with better dreams.' 
If Caesar hide himself, shall they not whisper 100 
' Lo, Caesar is afraid ' ? 
Pardon me, Caesar, for mv dear dear love 



^4 Julius Caesar [Act ii 

To your proceeding bids me tell you this. 
And reason to my love is liable. 
CcBsar. How foolish do your fears seem now, Calpurnia ! 
I am ashamed I did yield to them. 
Give me my robe, for I will go. 

Enter Publius, Brutus, Ligarius, Metellus, Casca, 
Trebonius, and Cinna 

And look where Publius is come to fetch me. 

Publius. Good morrow, Caesar. 

Ccesar. Welcome, Publius, 

What, Brutus, are you stirr'd so early too ? no 

Good morrow, Casca. Caius Ligarius, 
Caesar was ne'er so much your enemy 
As that same ague which hath made you lean. 
What is't o'clock? 

Brutus. Caesar, 'tis strucken eighty 

Ccesar. I thank you for your pains and courtesy. 

Enter Antony 

See ! Antony, that revels long o' nights. 

Is notwithstanding up. Good morrow, Antony. 

Antony. So to most noble Caesar. 

CcBsar. Bid them prepare within : 

I am to blame to be thus waited for. 
Now, Cinna : now, Metellus : what, Trebonius ! 120 
I have an hour's talk in store for you ; 

103. proceeding, career. 104. liable, subject. 



Scene III] Julius Caesar 75 

Remember that you call on me to-day : 

Be near me, that I may remember you. 
Trehonius. Caesar, I will. [Aside] And so near will I be, 

That your best friends shall wish I had been further. 
CcEsar. Good friends, go in and taste some wine with me ; 

And we like friends will straightway go together. 
Brutus. [Aside] That every like is notthe same, O Caesar, 

The heart of Brutus yearns to think upon ! [£xeunt. 



Scene III. A street near the Capitol 

Enter Artemidorus, reading a paper 

Artemidorus. ' Caesar, beware of Brutus ; take heed 
of Cassius ; come not near Casca ; have an eye 
to Cinna ; trust not Trebonius ; mark well 
Metellus Cimber : Decius Brutus loves thee 
not : thou hast wronged Caius Ligarius. There 
is but one mind in all these men, and it is bent 
against Caesar. If thou beest not immortal, look 
about you : security gives way to conspiracy. 
The mighty gods defend thee ! 

Thy lover, Artemidorus.' 10 
Here will I stand till Caesar pass along. 
And as a suitor will I give him this. 
My heart laments that virtue cannot hve 
Out of the teeth of emulation. 
If thou read this, O Caesar, thou mayst live ; 
If not, the Fates with traitors do contrive. [Exit. 



76 Julius Caesar [Act 11 



Scene IV. Another part of the same street^ before the 
house of Brutus 

Enter Portia and Lucius 

Portia. I prithee, boy, run to the senate-house ; 

Stay not to answer me, but get thee gone. 

Why dost thou stay ? 
Lucius. To know my errand, madam. 

Portia. I would have had thee there, and here again, 

Ere I can tell thee what thou shouldst do there. 

constancy, be strong upon my side ! 

Set a huge mountain 'tween my heart and tongue ! 

1 have a man's mind, but a woman's might. 
How hard it is for women to keep counsel ! 
Art thou here yet ? 

Lucius. Madam, what should I do ? 10 

Run to the Capitol, and nothing else? 

And so return to you, and nothing else ? 
Portia. Yes, bring me word, boy, if thy lord look 
well, 

For he went sickly forth : and take good note 

What Caesar doth, what suitors press to him. 

Hark, boy ! what noise is that ? 
Lucius. I hear none, madam. 
Portia. Prithee, listen well : 

I heard a bustling rumour like a fray, 

And the wind brings it from the Capitol. 
Lucius. Sooth, madam, I hear nothing. 20 



Scene IV] Julius Caesar 77 



Enter the Soothsayer 

Portia. Come hither, fellow. Which way hast thou 
been ? 

Soothsayer. At mine own house, good lady. 

Portia. What is't o'clock? 4 

Soothsayer. About the ninth hour, lady. 

Portia. Is Caesar yet gone to the Capitol ? 

Soothsayer. Madam, not yet : I go to take my stand, 
To see him pass on to the Capitol. 

Poi'tia. Thou hast some suit to Caesar, hast thou not ? 

Soothsayer. That I have, lady : if it will please Caesar 
To be so good to Caesar as to hear me, 
I shall beseech him to befriend himself. 30 

Portia. Why, know'st thou any harm's intended tow- 
ards him ? 

Soothsayer. None that I know will be, much that I fear 
may chance. 
Good morrow to you. Here the street is narrow : 
The throng that follows Caesar at the heels, 
Of senators, of praetors, common suitors. 
Will crowd a feeble man almost to death : 
I'll get me to a place more void and there 
Speak to great Caesar as he comes along. \_Exit. 

Portia. I must go in. Ay me, how weak a thing 

The heart of woman is ! O Brutus, 40 

The heavens speed thee in thine enterprise ! 
Sure, the boy heard me. Brutus hath a suit 
That Caesar will not grant. O, I grow faint. 



7 8 Julius Caesar [Act ill 

Run, Lucius, and commend me to my lord ; 

Say I am merry : come to me again. 

And bring me word what he doth say to thee. 

[^Exeunt severally. 

ACT III 

Scene I. Rome. Before the Capitol ; the Senate sitting 
above 

A crowd of people ; a77iong them Artemidorus a7id the 
Soothsayer. Flourish. Efiter Caesar, Brutus, 
Cassius, Casca, Decius, Metellus, Trebonius, 
CiNNA, Antony, Lepidus, Popilius, Publius, a?id 
others 

Ccesar. The ides of March are come. ^ 
Soothsayer. Ay, Caesar ; but not gone. 
Arte?nidorus. Hail, Caesar! read this schedule. 
Decius. Trebonius doth desire you to o'er-read, 

At your best leisure, this his humble suit. 
Artefnidorus. O Caesar, read mine first ; for mine's a 
suit 

That touches Caesar nearer : read it, great Caesar. 
Ccesar. What touches us ourself shall be last served. 
Artemidorus. Delay not, Caesar ; read it instantly. 
Ccesar. What, is the fellow mad ? 

Publius. Sirrah, give place. lo 

Cassius. What, urge you your petitions in the street ? 

Come to the Capitol. 

3. schedule, paper written on. 



Scene I] Julius Caesar 79 

C^SAR goes up to the Senate-house^ the rest following 

Popilius. I wish your enterprise to-day may thrive. 

Cassius. What enterprise, Popilius ? 

Popilius. Fare you well. 

\^Adva7tces to Ccesar. 
Brutus. What said Popilius Lena ? 
Cassius. He wish'd to-day our enterprise might thrive. 

I fear our purpose is discovered. 
Brutus. Look, how he makes to Caesar: mark him. 
Cassius. Casca, 

Be sudden, for we fear prevention. 

Brutus, what shall be done ? If this be known, 20 

Cassius or Caesar never shall turn back, 

For I will slay myself. 
Brutus. Cassius, be constant : 

Popilius Lena speaks not of our purposes ; 

For, look, he smiles, and Caesar doth not change. 
Cassius. Trebonius knows his time ; for, look you, 
Brutus, 

He draws Mark Antony out of the way. 

\Exeu7it Antony and Tirbonius. 
Decius. Where is Metellus Cimber ? Let him go. 

And presently prefer his suit to Caesar. 
Brutus. He is address'd : press near and second him. 
Cinna. Casca, you are the first that rears your hand. 30 
Ccesar. Are we all ready ? What is now amiss 

That Caesar and his senate must redress ? 
28. prefer his suit, present his request. 



8o Julius Caesar [Act ill 

Metellus. Most high, most mighty, and most puissant 
Caesar, 
Metellus Cimber throws before thy seat 
An humble heart : — \Kfieeling. 

Ccesar. I must prevent thee, Cimber. 

These crouchings and these lowly courtesies 
, Might fire the blood of ordinary men, 
And turn pre-ordinance and first decree 
Into the law of children. Be not fond, 
To think that Caesar bears such rebel blood 40 

That will be thaw'd from the true quality 
With that which melteth fools, I mean, sweet words. 
Low-crooked court'sies and base spaniel-fawning. 
Thy brother by decree is banished : 
If thou dost bend and pray and fawn for him, 
I spurn thee like a cur out of my way. 
Know, Caesar doth not wrong, nor without cause 
Will he be satisfied. 

Metellus. Is there no voice more worthy than my own, 
To sound more sweetly in great Caesar's ear 50 

For the repealing of my banish'd brother ? 

Brutus. I kiss thy hand, but not in flattery, Caesar, 
Desiring thee that Publius Cimber may 
Have an immediate freedom of repeal. 

CcBsar. What, Brutus ! 

Cassius. Pardon, Caesar ; Caesar, pardon : 

As low as to thy foot doth Cassius fall, 

38. pre-ordinance, what has been previously ordained. 39. fond, 
foolish. 



Scene I] JuHus Csesar 8i 

To beg enfranchisement for Publius Cimber. 
Ccesar. I could be well moved, if I were as you ; 

If I could pray to move, prayers would move me : 

But I am constant as the northern star, 60 

Of whose true-fix'd and resting quality 

There is no fellow in the firmament. 

The skies are painted with unnumber'd sparks ; 

They are all fire and every one doth shine ; 

But there's but one in all doth hold his place : 

So in the world ; 'tis furnish 'd well with men. 

And men are flesh and blood, and apprehensive ; 

Yet in the number I do know but one 

That unassailable holds on his rank, 

Unshaked of motion : and that I am he, 70 

Let me a little show it, even in this ; 

That I was constant Cimber should be banish'd, 

And constant do remain to keep him so. 
Cinna. O Caesar, — 

Ccesar. Hence ! wilt thou lift up Olympus ? 

Decius. Great Csesar, — 

Ccesar. Doth not Brutus bootless kneel ? 

Casca. Speak, hands, for me ! 

S^Casca first, then the other Cotispirators 
and Marcus Brutus stab CcBsar. 
Ccesar. Et tu, Brute ! Then fall, Caesar ! [Dies, 

Cinna. Liberty ! freedom ! Tyranny is dead ! 

Run hence, proclaim, cry it about the streets. 

67. apprehensive, gifted with intelligence. 70. unshaked^ unshaken. 
75. bootless, in vain. 
JULIUS C^SAR — 6 



82 Julius Caesar [Act iii 

Cassius. Some to the common pulpits, and cry out 80 

' Liberty, freedom, and enfranchisement ! ' 
Brutus. People, and senators, be not affrighted ; 

Fly not ; stand still : ambition's debt is paid. 
Casca. Go to the pulpit, Brutus. 
Decius. And Cassius too. 
Brutus. Where's Publius ? 

China. Here, quite confounded with this mutiny. 
Metellus. Stand fast together, lest some friend of 
Caesar's 

Should chance — 
Brutus. Talk not of standing. Publius, good cheer ; 

There is no harm intended to your person, 90 

Nor to no Roman else : so tell them, Publius. 
Cassius. And leave us, Publius ; lest that the people 

Rushing on us should do your age some mischief. 
Brutus. Do so : and let no man abide this deed 

But we the doers. 

Re-enter Trebonius 

Cassius. Where is Antony ? 

Trebonius. Fled to his house amazed : 

Men, wives, and children stare, cry out and run, 

As it were doomsday. 
Brutus. Fates, we will know your pleasures : 

That we shall die, we know ; 'tis but the time. 

And drawing days out, that men stand upon. 100 
Cassius. Why, he that cuts off twenty years of life 

Cuts off so many years of fearing death. 



Scene I] Julius Caesar 83 

Brutus. Grant that, and then is death a benefit : 
So are we Caesar's friends, that have abridged 
His time of fearing death. Stoop, Romans, stoop, 
And let us bathe our hands in Caesar's blood 
Up to the elbows, and besmear our swords : 
Then walk we forth, even to the market-place, 
And waving our red weapons o'er our heads, 
Let's all cry ' Peace, freedom, and liberty ! ' no 

Cassius. Stoop then, and wash. How many ages 
hence 
Shall this our lofty scene be acted over 
In states unborn and accents yet unknown ! 

Brutus. How many times shall Caesar bleed in sport, 
That now on Pompey's basis lies along 
No worthier than the dust ! 

Cassius. So oft as that shall be, 

So often shall the knot of us be call'd 
The men that gave their country liberty. 

Decius. What, shall we forth ? 

Cassius. Ay, every man away ; 

Brutus shall Iccid, and we will grace his heels 120 
With the most boldest and best hearts of Rome. 

Enter a Servant 

Brutus. Soft ! who comes here ? A friend of Antony's. 

Seniant. Thus, Brutus, did my master bid me kneel ; 
Thus did Mark Antony bid me fall down ; 
And, being prostrate, thus he bade me say : 
Brutus is noble, wise, valiant, and honest ; 



84 Julius Caesar [Act ill 

Caesar was mighty, bold, royal, and loving : 

Say I love Brutus and I honour him ; 

Say I fear'd Caesar, honour'd him and loved him. 

If Brutus will vouchsafe that Antony 130 

May safely come to him and be resolved 

How Caesar hath deserved to lie in death, 

Mark Antony shall not love Caesar dead 

So well as Brutus living, but will follow 

The fortunes and affairs of noble Brutus 

Thorough the hazards of this untrod state 

With all true faith. So says my master Antony. 

Brutus. Thy master is a wise and valiant Roman ; 
I never thought him worse. 

Tell him, so please him come unto this place, 140 
He shall be satisfied and, by my honour. 
Depart untouch'd. 

Servant. I'll fetch him presently. S^Exit. 

Brutus. I know that we shall have him well to friend. 

Cassius. I wish we may : but yet have I a mind 
That fears him much, and my misgiving still 
Falls shrewdly to the purpose. 

Re-enter Antony 

Brutus. But here comes Antony. Welcome, Mark 

Antony. 
Antony. O mighty Caesar ! dost thou lie so low ? 
Are all thy conquests, glories, triumphs, spoils, 

131. resolved, satisfied. 136. ««/?'^a' j/a/^, new state of affairs. 
145. still., always. 146. shrewdly, close enough. 



Scene I] Julius Caesar 85 

Shrunk to this little measure ? Fare thee well. 150 
I know not, gentlemen, what you intend, 
Who else must be let blood, who else is rank : 
If I myself, there is no hour so fit 
As Caesar's death's hour, nor no instrument 
Of half that worth as those your swords, made rich 
With the most noble blood of all this world. 
I do beseech ye, if you bear me hard, 
Now, whilst your purpled hands do reek and smoke, 
Fulfil your pleasure. Live a thousand years, 
I shall not find myself so apt to die : 160 

No place will please me so, no mean of death, 
As here by Caesar, and by you cut off. 
The choice and master spirits of this age. 
Brutus. O Antony, beg not your death of us. 
Though now we must appear bloody and cruel, 
As, by our hands and this our present act, 
You see we do ; yet see you but our hands 
And this the bleeding business they have done : 
Our hearts you see not ; they are pitiful ; 
And pity to the general wrong of Rome — 170 

As fire drives out fire, so pity pity — 
Hath done this deed on Caesar. For your part. 
To you our swords have leaden points, Mark 

Antony : 
Our arms in strength of malice, and our hearts 
Of brothers' temper, do receive you in 
With all kind love, good thoughts, and reverence. 
160. apt, ready. 



86 Julius Caesar [Act III 

Cassius. Your voice shall be as strong as any man's 
In the disposing of new dignities. 

Brutus. Only be patient till we have appeased 

The multitude, beside themselves with fear, i8o 

And then we will deliver you the cause 
Why I, that did love Caesar when I struck him. 
Have thus proceeded. 

Antony. I doubt not of your wisdom. 

Let each man render me his bloody hand : 
First, Marcus Brutus, will I shake with you ; 
Next, Caius Cassius, do I take your hand ; 
Now, Decius Brutus, yours ; now yours, Metellus ; 
Yours, Cinna ; and, my valiant Casca, yours ; 
Though last, not least in love, yours, good Tre- 

bonius. 
Gentlemen all, — alas, what shall I say ? 190 

My credit now stands on such slippery ground, 
That one of two bad ways you must conceit me, 
Either a coward or a flatterer. 
That I did love thee, Caesar, O, 'tis true : 
If then thy spirit look upon us now. 
Shall it not grieve thee dearer than thy death. 
To see thy Antony making his peace, 
Shaking the bloody fingers of thy foes. 
Most noble ! in the presence of thy corse ? 
Had I as many eyes as thou hast wounds, 200 

Weeping as fast as they stream forth thy blood, 
It would become me better than to close 

192. conceit me, think of me, 196. dearer, more intensely. 



Scene I] Julius Caesar 87 

In terms of friendship with thine enemies. 

Pardon me, Julius ! Here wast thou bay'd, brave 

hart ; 
Here didst thou fall, and here thy hunters stand, 
Sign'd in thy spoil and crimson'd in thy lethe. 
O world, thou wast the forest to this hart ; — 
And this, indeed, O world, the heart of thee. 
How like a deer strucken by many princes 
Dost thou here lie ! 210 

Cassius. Mark Antony, — 

Antony. Pardon me, Caius Cassius : 

The enemies of Caesar shall say this ; 
Then, in a friend, it is cold modesty. 

Cassius. I blame you not for praising Caesar so ; 
But what compact mean you to have with us? 
Will you be prick'd in number of our friends, 
Or shall we on, and not depend on you ? 

Antony. Therefore I took your hands, but was indeed 
Sway'd from the point by looking down on Caesar. 
Friends am I wuth you all and love you all, 220 

Upon this hope that you shall give me reasons 
Why and wherein Caesar was dangerous. 

Brutus. Or else were this a savage spectacle : 
Our reasons are so full of good regard 
That were you, Antony, the son of Caesar, 
You should be satisfied. 

Antony. That's all I seek : 

206. lethe, from Lethe, hence oblivion. 2l6. prick'd, marked 
down, written down. 224. regard, consideration. 



88 Julius Caesar [Act III 

And am moreover suitor that I may- 
Produce his body to the market-place, 
And in the pulpit, as becomes a friend, 
Speak in the order of his funeral. 230 

Brutus. You shall, Mark Antony. 

Cassius. Brutus, a word with you. 

[AsiWe to B7'utus\ You know not what you do : do not 

consent 
That Antony speak in his funeral : 
Know you how much the people may be moved 
By that which he will utter ? 

Brutus. By your pardon : 

I will myself into the pulpit first. 
And show the reason of our Caesar's death : 
What Antony shall speak, I will protest 
He speaks by leave and by permission. 
And that we are contented Caesar shall 240 

Have all true rites and lawful ceremonies. 
It shall advantage more than do us wrong. 

Cassius. I know not what may fall ; I like it not. 

Brutus. Mark Antony, here, take you Caesar's body. 
You shall not in your funeral speech blame us, 
But speak all good you can devise of Caesar, 
And say you do't by our permission ; 
Else shall you not have any hand at all 
About his funeral : and you shall speak 
In the same pulpit whereto I am going, 250 

After my speech is ended. 

Afttonv. Be it so ; 



Scene I] Julius Caesar 89 

I do desire no more. 

Brutus. Prepare the body then, and follow us. 

S^Exeunt all but Antony. 

Antony. O, pardon me, thou bleeding piece of earth, 
That I am meek and gentle with these butchers ! 
Thou art the ruins of the noblest man 
That ever lived in the tide of times. 
Woe to the hand that shed this costly blood ! 
Over thy wounds now do I prophesy, — 
Which like dumb mouths do ope their ruby lips 260 
To beg the voice and utterance of my tongue, — 
A curse shall light upon the limbs of men ; 
Domestic fury and fierce civil strife 
Shall cumber all the parts of Italy ; 
Blood and destruction shall be so in use 
And dreadful objects so familiar 
That mothers shall but smile when they behold 
Their infants quarter'd with the hands of war ; 
All pity choked with custom of fell deeds : 
And Caesar's spirit ranging for revenge, 270 

With Ate by his side come hot from hell, 
Shall in these confines with a monarch's voice 
Cry ' Havoc,' and let slip the dogs of war ; 
That this foul deed shall smell above the earth 
With carrion men, groaning for burial. 

Enter a Servant 

You serve Octavius Caesar, do you not ? 
Servant. I do, Mark Antony. 



90 Julius Caesar [Act in 

Antony. Caesar did write for him to come to Rome. 

Servant. He did receive his letters, and is coming; 
And bid me say to you by word of mouth — 280 
O Caesar ! [Seeing the body. 

Antony. Thy heart is big ; get thee apart and weep. 
Passion, I see, is catching, for mine eyes, 
Seeing those beads of sorrow stand in thine, 
Began to water. Is thy master coming ? 

Servant. He Hes to-night within seven leagues of Rome. 

Antony. Post back with speed, and tell him what hath 
chanced : 
Here is a mourning Rome, a dangerous Rome, 
No Rome of safety for Octavius yet ; 
Hie hence, and tell him so. Yet stay awhile ; 290 
Thou shalt not back till I have borne this corse 
Into the market-place : there shall I try. 
In my oration, how the people take 
The cruel issue of these bloody men ; 
According to the which, thou shalt discourse 
To young Octavius of the state of things. 
Lend me your hand. [Exeunt with Ccesar's body. 

Scene II. The Forum 

Enter Brutus and Cassius, and a throng of Citizens 

Citizens. We will be satisfied ; let us be satisfied. 
Brutus. Then follow me, and give me audience, friends. 
Cassius, go you into the other street, 

286. /^rt^-«<?:r, English league = 3 statute miles. 294. w«^, deed. 



Scene II] Julius Caesar 91 

And part the numbers. 

Those that will hear me speak, let 'em stay here ; 

Those that will follow Cassius, go with him ; 

And public reasons shall be rendered 

Of Csesar's death. 

First Citizen. I will hear Brutus speak. 

Second Citizen. I will hear Cassius ; and compare their 
reasons, 
When severally we hear them rendered. 10 

\Exit Cassius J with so?ne of the Citi- 
zens. Brutus goes into the pulpit. 

Third Citizen. The noble Brutus is ascended : silence 1 

Brutus. Be patient till the last. 

Romans, countrymen, and lovers ! hear me for 
my cause, and be silent, that you may hear : 
believe me for mine honour, and have respect to 
mine honour, that you may believe : censure me 
in your wisdom, and awake your senses, that you 
may the better judge. If there be any in this 
assembly, any dear friend of Caesar's, to him I 
say that Brutus' love to Caesar was no less than 20 
his. If then that friend demand why Brutus 
rose against Caesar, this is my answer : not that 
I loved Caesar less, but that I loved Rome more. 
Had you rather Caesar were living, and die all 
slaves, than that Caesar were dead, to live all 
freemen ? As Caesar loved me, I weep for him ; 
as he was fortunate, I rejoice at it ; as he was 
valiant, I honour him ; but as he was ambitious, 



92 Julius Caesar [Act iii 

I slew him. There is tears for his love ; joy 
for his fortune ; honour for his valour ; and 30 
death for his ambition. Who is here so base 
that would be a bondman ? If any, speak ; for 
him have I offended. Who is here so rude that 
would not be a Roman ? If any, speak ; for 
him have I offended. Who is here so vile that 
will not love his country ? If any, speak ; for 
him have I offended. I pause for a reply. 

All. None, Brutus, none. 

Brutus. Then none have I offended. I have done 
no more to Caesar than you shall do to Brutus. 40 
The question of his death is enrolled in the 
Capitol ; his glory not extenuated, wherein he 
was worthy, nor his offences enforced, for which 
he suffered death. 

Enter Antony and others, with Cesar's body 

Here comes his body, mourned by Mark 
Antony : who, though he had no hand in his 
death, shall receive the benefit of his dying, a 
place in the commonwealth ; as which of you 
shall not? With this I depart, — that, as I slew 
my best lover for the good of Rome, I have 50 
the same dagger for myself, when it shall please 
my country to need my death. 

All. Live, Brutus ! live, live ! 

First Citizen. Bring him with triumph home unto his 
house. 



Scene II] Julius Caesar 93 

Second Citizen. Give him a statue with his ancestors. 

Third Citizen. Let him be Caesar. 

Fourth Citizen. Caesar's better parts 

Shall be crown 'd in Brutus. 
First Citizen. We'll bring him to his house 

With shouts and clamours, 
Brutus. My countrymen, — 

Second Citizen. Peace! Silence! Brutus speaks. 
First Citizen. Peace, ho I 

Brutus. Good countrymen, let me depart alone, 60 

And, for my sake, stay here with Antony : 

Do grace to Caesar's corpse, and grace his speech 

Tending to Caesar's glories, which Mark Antony 

By our permission is allow'd to make. 

I do entreat you, not a man depart, 

Save I alone, till Antony have spoke. \Exit. 

First Citizen. Stay, ho ! and let us hear Mark Antony. 
Third Citizen. Let him go up into the public chair; 

We'll hear him. Noble Antony, go up. 
Antony. For Brutus' sake, I am beholding to you. 70 

\^Goes into the pulpit. 
Fourth Citizen. What does he say of Brutus? 
Third Citizen. He says, for Brutus' sake. 

He finds himself beholding to us all. 
Fourth Citizen. 'Twere best he speak no harm of 

Brutus here. 
First Citizen. This Caesar was a tyrant. 
Third Citizen. Nay, that's certain : 

72. beholding, beholden. 



94 Julius Cassar [Act III 

We are blest that Rome is rid of him. 
Second Cttize?i. Peace ! let us hear what Antony can 

say. 
Antony. You gentle Romans, — 

All. Peace, ho ! let us hear him. 

Antony. Friends, Romans, countrymen, lend me your 
ears ; 

I come to bury Caesar, not to praise him. 

The evil that men do lives after them ; So 

The good is oft interred with their bones ; 

So let it be with Caesar. The noble Brutus 

Hath told you Caesar was ambitious : 

If it were so, it was a grievous fault. 

And grievously hath Caesar answer'd it. 

Here, under leave of Brutus and the rest, — 

For Brutus is an honourable man ; 

So are they all, all honourable men, — 

Come I to speak in Caesar's funeral. 

He was my friend, faithful and just to me : 90 

But Brutus says he was ambitious ; 

And Brutus is an honourable man. 

He hath brought many captives home to Rome, 

Whose ransoms did the general coffers fill : 

Did this in Caesar seem ambitious ? 

When that the poor have cried, Caesar hath wept : 

Ambition should be made of sterner stuff : 

Yet Brutus says he was ambitious ; 

And Brutus is an honourable man. 

You all did see that on the Lupercal 100 



Scene II] Julius Caesar 95 

I thrice presented him a kingly crown, 

Which he did thrice refuse : was this ambition ? 

Yet Brutus says he was ambitious ; 

And, sure, he is an honourable man. 

I speak not to disprove what Brutus spoke, 

But here I am to speak what I do know. 

You all did love him once, not without cause : 

What cause withholds you then to mourn for him ? 

judgement ! thou art fled to brutish beasts, 

And men have lost their reason. Bear with me ; no 
My heart is in the coffin there with Casar, 
And I must pause till it come back to me. 

First Citizen. Methinks there is much reason in his 
sayings. 

Second Citizen. If thou consider rightly of the matter, 
Caesar has had great wrong. 

Third Citizen. Has he, masters ? 

1 fear there will a worse come in his place. 
Fourth Citizen. Mark'd ye his words ? He would not 

take the crown ; 
Therefore 'tis certain he was not ambitious. 
First Citizen. If it be found so, some will dear abide it. 
Second Citizen. Poor soul ! his eyes are red as fire with 

weeping. 120 

Third Citizen. There's not a nobler man in Rome than 

Antony. 
Fourth Citizen. Now mark him, he begins again to 



speak. 



119. abide, suffer for. 



g6 Julius Caesar [Act ill 

Antony. But yesterday the word of Caesar might 
Have stood against the world : now lies he there, 
And none so poor to do him reverence. 

masters, if I were disposed to stir 
Your hearts and minds to mutiny and rage, 

1 should do Brutus wrong and Cassius wrong, 
Who, you all know, are honourable men : 

I will not do them wrong ; I rather choose 130 

To wrong the dead, to wrong myself and you, 

Than I will wrong such honourable men. 

But here's a parchment with the seal of Caesar ; 

I found it in his closet ; 'tis his will : 

Let but the commons hear this testament — 

Which, pardon me, I do not mean to read — 

And they would go and kiss dead Ctesar's wounds 

And dip their napkins in his sacred blood, 

Yea, beg a hair of him for memory. 

And, dying, mention it within their wills, 140 

Bequeathing it as a rich legacy 

Unto their issue. 

Fourth Citizen. We'll hear the will: read it, Mark 
Antony. 

A/L The will, the will ! we will hear Caesar's will. 

Anto7jy. Have patience, gentle friends, I must not read 
it; 
It is not meet you know how Caesar loved you. 
You are not wood, you are not stones, but men ; 
And, being men, hearing the will of Caesar, 
It will inflame you, it will make you mad : 



Scene II] Julius Caesar 97 

'Tis good you know not that you are his heirs ; 150 

For if you should, O, what would come of it ! 
Foicrth Citizen. Read the will ; we'll hear it, Antony ; 

You shall read us the will, Caesar's will. 
Ant07iy. Will you be patient ? will you stay awhile ? 

I have o'ershot myself to tell you of it : 

I fear I wrong the honourable men 

Whose daggers have stabb'd Caesar ; I do fear it. 
Fourth Citizen. They were traitors : honourable men 1 
AIL The will ! the testament ! 

Second Citizen. They were villains, murderers : the 
will ! read the will. 160 

Antony. You will compel me then to read the will ? 

Then make a ring about the corpse of Caesar, 

And let me show you him that made the will. 

Shall I descend ? and will you give me leave ? 
All. Come down. 
Second Citizen Descend. 

\^He comes down from the pulpit. 
TJm-d Citizen. You shall have leave. 
Fourth Citizen. A ring ; stand round. 
First Citizen. Stand from the hearse, stand from the 

body. 
Second Citizen. Room for Antony, most noble Antony. 
Antony. Nay, press not so upon me ; stand far off. 171 
All. Stand back. Room ! Bear back. 
Antony. If you have tears, prepare to shed them 
now. 

You all do know this mantle : I remember 

JULIUS C^SAR — 7 



98 Julius Caesar [Act 111 

The first time ever Caesar put it on ; 
'Twas on a summer's evening, in his tent, 
That day he overcame the Nervii : 
Look, in this place ran Cassius' dagger through : 
See what a rent the envious Casca made : 
Through this the well-beloved Brutus stabb'd ; 180 
And as he pluck'd his cursed steel away, 
Mark how the blood of Caesar follow'd it, 
As rushing out of doors, to be resolved 
If Brutus so unkindly knock'd, or no : 
For Brutus, as you know, was Caesar's angel : 
Judge, O you gods, how dearly Caesar loved him ! 
This was the most unkindest cut of all ; 
For when the noble Caesar saw him stab, 
Ingratitude, more strong than traitors' arms, 
Quite vanquish'd him : then burst his mighty heart; 
And, in his mantle muffling up his face, 191 

Even at the base of Pompey's statua. 
Which all the while ran blood, great Caesar fell. 
O, M'hat a fall was there, my countrymen ! 
Then I, and you, and all of us fell down, 
Whilst bloody treason flourish 'd over us. 
O, now you weep, and I perceive you feel 
The dint of pity : these are gracious drops. 
Kind souls, what, weep you when you but behold 
Our Caesar's vesture wounded ? Look you here, 200 
Here is himself, marr'd, as you see, with traitors. 
First Citizen. O piteous spectacle ! 
198, dint, impression. 



Scene II] Julius Caesar 99 

Second Citizen. O noble Caesar ! 

Third Citizen. O woeful day ! 

Fourth Citizen. O traitors, villains ! 

First Citizen. O most bloody sight ! 

Second Citizen. We will be revenged. 

All. Revenge! About! Seek! Burn! Fire! Kill! 
Slay ! Let not a traitor live ! 

Antony. Stay, countrymen. 210 

First Citizen. Peace there ! hear the noble Antony. 

Second Citizen. We'll hear him, we'll follow him, 
we'll die with him. 

Antony. Good friends, sweet friends, let me not stir 
you up 
To such a sudden flood of mutiny. 
They that have done this deed are honourable ; 
What private griefs they have, alas, I know not. 
That made them do it: they are wise and honourable. 
And will, no doubt, with reasons answer you. 
I come not, friends, to steal away your hearts : 220 
I am no orator, as Brutus is ; 
But, as you know me all, a plain blunt man, 
That love my friend ; and that they know full well 
That gave me public leave to speak of him : 
For I have neither wit, nor words, nor worth. 
Action, nor utterance, nor the power of speech, 
To stir men's blood : I only speak right on ; 
I tell you that which you yourselves do know ; 
Show you sweet Caesar's wounds, poor poor dumb 
mouths, 



lOO Julius Caesar [Act ill 

And bid them speak for me : but were I Brutus, 230 
And Brutus Antony, there were an Antony 
Would ruffle up your spirits, and put a tongue 
In every wound of Caesar, that should move 
The stones of Rome to rise and mutiny. 

All. We'll mutiny. 

First Citizen. We'll burn the house of Brutus. 

Third Citizen. Away, then ! come, seek the conspira- 
tors. 

Antony. Yet hear me, countrymen ; yet hear me speak. 

All. Peace, ho ! Hear Antony. Most noble Antony ! 

Antony. Why, friends, you go to do you know not 
what : 240 

Wherein hath Caesar thus deserved your loves ? 
Alas, you know not ; I must tell you then : 
You have forgot the will I told you of. 

All. Most true : the will ! Let's stay and hear the will. 

Antony. Here is the will, and under Caesar's seal. 
To every Roman citizen he gives, 
To every several man, seventy-five drachmas. 

Second Citizen. Most noble Caesar ! we'll revenge his 
death. 

Third Citizen. O royal Caesar ! 

Antony. Hear me with patience. 250 

All. Peace, ho ! 

Antony. Moreover, he hath left you all his walks, 
His private arbours and new-planted orchards, 
On this side Tiber ; he hath left them you, 
And to your heirs for ever ; common pleasures, 



Scene II] Jullus Caesar lOi 

To walk abroad and recreate yourselves. 

Here was a Caesar ! when comes such another ? 
First Citizen. Never, never. Come, away, away ! 

We'll burn his body in the holy place. 

And with the brands fire the traitors' houses. 260 

Take up the body. 
Second Citizen. Go fetch fire. 
Third Citizen. Pluck down benches. 
Fourth Citizen. Pluck down forms, windows, any thing. 
\Exeunt Citizens with the body. 
Antony. Now let it work. Mischief, thou art afoot, 

Take thou what course thou wilt. 

Enter a Servant 

How now, fellow ! 
Servant. Sir, Octavius is already come to Rome. 
Antony. Where is he ? 

Servant. He and Lepidus are at Caesar's house. 
Antony. And thither will I straight to visit him. 270 

He comes upon a wish. Fortune is merry, 

And in this mood will give us any thing. 
Servant. I heard him say, Brutus and Cassius 

Are rid like madmen through the gates of Rome. 
Antony. Belike they had some notice of the people. 

How I had moved them. Bring me to Octavius. 

\_Exetmt 



I02 Julius Caesar [Act iii 

Scene III. A street 

Enter Cinna the poet 

Cinna. I dreamt to-night that I did feast with Caesar, 
And things unluckily charge my fantasy : 
I have no will to wander forth of doors, 
Yet something leads me forth. 

Enter Citizens 

Ei?'st Citizen. What is your name ? 

Second Citizen. Whither are you going ? 

Third Citizen. Where do you dwell ? 

Fourth Citizen. Are you a married man or a bach- 
elor? 

Second Citizen. Answer every man directly. lo 

First Citizen. Ay, and briefly. 

Fourth Citizen. Ay, and wisely. 

Third Citizen. Ay, and truly, you were best. 

Cinna. What is my name ? Whither am I going ? 
Where do I dwell ? Am I a married man or 
a bachelor? Then, to answer every man di- 
rectly and briefly, wisely and truly : wisely I 
say, I am a bachelor. 

Second Citizen. That's as much as to say, they are 
fools that marry : you'll bear me a bang for that, 20 
I fear. Proceed ; directly. 

Cinna. Directly, I am going to Csesar's funeral. 

First Citizen. As a friend or an enemy ? 

2. charge, weigh upon. 20. bang, blow. 



Scene I] JuHus Caesar 103 

Cinna. As a friend. 

Second Citizen. That matter is answered directly. 

Fourth Citizen. For your dwelling, briefly. 

Cinna. Briefly, I dwell by the Capitol. 

Third Citizen. Your name, sir, truly. 

Cifina. Truly, my name is Cinna. 

First Citizen. Tear him to pieces ; he's a con- 30 

spirator. 
Cinna. I am Cinna the poet, I am Cinna the poet. 
Fourth Citizen. Tear him for his bad verses, tear 

him for his bad verses. 
Cinna. I am not Cinna the conspirator. 
Fourth Citizen. It is no matter, his name's Cinna; 

pluck but his name out of his heart, and turn 

him going. 
Third Citizen. Tear him, tear him! Come, brands, 40 

ho ! fire-brands : to Brutus', to Cassius' ; burn 

all : some to Decius' house, and some to 

Casca's ; some to Ligarius' : away, go! \Exeunt. 



ACT IV 

Scene I. A house in Rome 

Antony, Octavius, and Lepidus, seated at a table 

Antony. These many then shall die ; their names are 
prick'd. 

I. prick'd, marked down. 



I04 Julius Caesar [Act iv 

Octavius. Your brother too must die ; consent you, 
Lepidus ? 

Lepidus. I do consent — 

Octavius. Prick him down, Antony. 

Lepidus. Upon condition Publius shall not live, 
Who is your sister's son, Mark Antony. 

Antotiy. He shall not live ; look, with a spot I damn 
him. 
But, Lepidus, go you to Caesar's house ; 
Fetch the will hither, and we shall determine 
How to cut off some charge in legacies. 

Lepidus. What, shall I find you here ? lo 

Octavius. Or here, or at the Capitol. S^Exit Lepidus. 

Antony. This is a slight unmeritable man, 
Meet to be sent on errands : is it fit. 
The three-fold world divided, he should stand 
One of the three to share it? 

Octavius. So you thought him, 

And took his voice who should be prick'd to die 
In our black sentence and proscription. 

Antony. Octavius, I have seen more days than you : 
And though we lay these honours on this man. 
To ease ourselves of divers slanderous loads, 20 

He shall but bear them as the ass bears gold. 
To groan and sweat under the business. 
Either led or driven, as we point the w^ay ; 
And having brought our treasure where we will, 
Then take we down his load and turn him off, 
Like to the empty ass, to shake his ears 



Scene I] Julius Caesar 105 

And graze in commons. 

Octavius. You may do your will : 

But he's a tried and valiant soldier. 

Antony. So is my horse, Octavius, and for that 

I do appoint him store of provender : 30 

It is a creature that I teach to fight, 

To wind, to stop, to run directly on. 

His corporal motion govern'd by my spirit. 

And, in some taste, is Lepidus but so ; 

He must be taught, and train'd, and bid go forth ; 

A barren-spirited fellow ; one that feeds 

On abjects, orts and imitations, 

Which, out of use and staled by other men. 

Begin his fashion : do not talk of him 

But as a property. And now, Octavius, 40 

Listen great things : — Brutus and Cassius 

Are levying powers : we must straight make head : 

Therefore let our alliance be combined. 

Our best friends made, our means stretch 'd ; 

And let us presently go sit in council. 

How covert matters may be best disclosed. 

And open perils surest answered. 

Octavius. Let us do so : for we are at the stake. 
And bay'd about with many enemies ; 
And some that smile have in their hearts, I fear, 50 
Millions of mischiefs. [Exeunt. 

37. abjects^ things cast away. 37. orts, remnants. 38. staled, 
jnade common. 44. stretcli'd, made the most of. 



io6 . Julius Caesar [Act iv 

Scene II. Camp near Sardis. Before Bruius's tent 

Drum. Enter Brutus, Lucilius, Lucius, and 
Soldiers ; Titinius and Pindarus meet them 

Brutus. Stand, ho ! 

Lucilius. Give the word, ho ! and stand. 

Brutus. What now, Lucilius ! is Cassius near ? 

Lucilius. He is at hand ; and Pindarus is come 
To do you salutation from his master. 

Brutus. He greets me well. Your master, Pindarus, 
In his own change, or by ill officers, 
Hath given me some worthy cause to wish 
Things done undone : but if he be at hand, 
I shall be satisfied. 

Pindarus. I do not doubt lo 

But that my noble master will appear 
Such as he is, full of regard and honour. 

Brutus, He is not doubted. A word, Lucilius, 
How he received you : let me be resolved. 

Lucilius. With courtesy and with respect enough ; 
But not with such familiar instances. 
Nor with such free and friendly conference. 
As he hath used of old. 

Brutus. Thou hast described 

A hot friend cooling : ever note, Lucilius, 
When love begins to sicken and decay, 20 

It useth an enforced ceremony. 
There are no tricks in plain and simple faith : 
14. resolved, satisfied. 



Scene II] Julius Caesar 107 

But hollow men, like horses hot at hand, 
Make gallant show and promise of their mettle ; 
But when they should endure the bloody spur, 
They fall their crests, and, like deceitful jades, 
Sink in the trial. Comes his army on ? 

Lucilius. They mean this night in Sardis to be quar- 
ter'd ; V 
The greater part, the horse in general. 
Are come with Cassius. \^Low march within. 

Brutus. Hark ! he is arrived : 30 

March gently on to meet him. 

Enter Cassius and his powers 

Cassius. Stand, ho ! 

Brutus. Stand, ho ! Speak the word along. • 

First Soldier. Stand ! 

Sec Old Soldier. Stand ! 

Third Soldier. Stand ! 

Cassius. Most noble brother, you have done me wrong. 

Brutus. Judge me, you gods ! wrong I mine enemies ? 

And, if not so, how should I wrong a brother ? 
Cassius. Brutus, this sober form of yours hides 
wrongs ; 40 

And when you do them — 
Brutus. Cassius, be content ; 

Speak your griefs softly : I do know you well. 

Before the eyes of both our armies here, 

Which shall perceive nothing but love from us, 

23. hot at hand, when held in. 24. mettle, spirit. 



io8 Julius Caesar [Act iv 

Let us not wrangle : bid them move away ; 

Then in my tent, Cassius, enlarge your griefs, 

And I will give you audience. 
Cassius. Pindarus, 

Bid our commanders lead their charges off 

A little from this ground. 
Brutus. Lucilius, do you the like, and let no man 50 

Come to our tent till we have done our conference. 

Let Lucius and Titinius guard our door. [Exeunt. 

Scene IIL Brutus's tent 

Entej- Brutus and Cassius 

Cassius. That you have wrong'd me doth appear in 
this: 

You have condemned and noted Lucius Pella 

For taking bribes here of the Sardians ; 

Wherein my letters, praying on his side. 

Because I knew the man, were slighted off. 
Brutus. You wrong'd yourself to write in such a case. 
Cassius. In such a time as this it is not meet 

That every nice offence should bear his comment. 
Brutus. Let me tell you, Cassius, you yourself 

Are much condemn 'd to have an itching palm ; 10 

To sell and mart your offices for gold 

To undeservers. 
Cassius. I an itching palm ! 

You know that you are Brutus that speaks this, 

8. «/Vif, trivial. 8. <:cww<?;//, criticism, ii. w^zr/, barter. 



Scene III] Julius Caesar 109 

Or, by the gods, this speech were else your last. 

Brutus. The name of Cassius honours this corruption, 
And chastisement doth therefore hide his head. 

Cassius. Chastisement ! 
^Brutus. Remember March, the ides of March re- 
member : 
Did not great Julius bleed for justice' sake \ 
What villain touch 'd his body, that did stab, 20 

And not for justice ? What, shall one of us, 
That struck the foremost man of all this world 
But for supporting robbers, shall we now 
Contaminate our lingers with base bribes, 
And sell the mighty space of our large honours 
For so much trash as may be grasped thus ? 
I had rather be a dog, and bay the moon, 
Than such a Roman. 

Cassius. Brutus, bait not me ; 

I'll not endure it : you forget yourself. 
To hedge me in ; I am a soldier, I, 30 

Older in practice, abler than yourself 
To make conditions. 

Brutus. Go to ; you are not, Cassius. 

Cassius. I am. 

Brutus. I say you are not. 

Cassius, Urge me no more, I shall forget myself ; 
Have mind upon your health, tempt me no farther. 

Brutus. Away, slight man ! 

Cassius, Is't possible ? 

37. slight, worthless. 



no Julius Caesar [Act iv 

Brutus. Hear me, for I will speak. 

Must I give way and room to your rash choler ? 
Shall I be frighted when a madman stares ? 40 

Cassius. O ye gods, ye gods ! must I endure all this ? 

Brutus. All this ! ay, more : fret till your proud heart 
break ; 
Go show your slaves how choleric you are, 
And make your bondmen tremble. Must I budge ? 
Must I observe you ? must I stand and crouch 
Under your testy humour ? By the gods, 
You shall digest the venom of your spleen, 
Though it do split you ; for, from this day forth, 
I'll use you for my mirth, yea, for my laughter, 
When you are waspish. 

Cassius. Is it come to this ? 50 

Brutus. You say you are a better soldier : 
Let it appear so ; make your vaunting true, 
And it shall please me well : for mine own part, 
I shall be glad to learn of noble men. 

Cassius. You wrong me every way ; you wrong me, 
Brutus ; 
I said, an elder soldier, not a better : 
Did I say * better ' ? 

Brutus. If you did, I care not. 

Cassius. When Ceesar lived, he durst not thus have 
moved me. 

Brutus. Peace, peace ! you durst not so have tempted \ 
him. 

39. choler, anger. 47. spleen, passion. 



Scene III] Julius Caesar iii 

Cassius. I durst not 1 60 

Brutus. No. 

Cassius. What, durst not tempt him ! 

Brutus. For your life you durst not. 

Cassius. Do not presume too much upon my love ; 
I may do that I shall be sorry for. 

Briitus. You have done that you should be sorry for. 
There is no terror, Cassius, in your threats ; 
For I am arm'd so strong in honesty. 
That they pass by me as the idle wind 
Which I respect not. I did send to you 
For certain sums of gold, which you denied me : 70 
For I can raise no money by vile means : 
By heaven, I had rather coin my heart, 
And drop my blood for drachmas, than to wring 
From the hard hands of peasants their vile trash 
By any indirection. I did send 
To you for gold to pay my legions. 
Which you denied me : was that done like Cassius ? 
Should I have answer'd Caius Cassius so ? 
When Marcus Brutus grows so covetous, 
To lock such rascal counters from his friends, 80 
Be ready, gods, with all your thunderbolts ; 
Dash him to pieces ! 

Cassius. I denied you not. 

Brutus. You did. 

Cassius. I did not : he was but a fool that 
brought 
My answer back. Brutus hath rived my heart; 



112 Julius Caesar [Act IV 

A friend should bear his friend's infirmities, 
But Brutus makes mine greater than they are. 

Brutus. I do not, till you practise them on me. 

Cassius. You love me not. 

Brutus. I do not like your faults. 

Cassius. A friendly eye could never see such faults. 90 

B?'utus. A flatterer's would not, though they do appear 
As huge as high Olympus. 

Cassius. Come, Antony, and young Octavius, come, 
Revenge yourselves alone on Cassius, 
For Cassius is aweary of the world ; 
Hated by one he loves ; braved by his brother ; 
Check'd like a bondman ; all his faults observed, 
Set in a note-book, learn'd and conn 'd by rote, 
To cast into my teeth. O, I could weep 
My spirit from mine eyes ! There is my dagger, 100 
And here my naked breast ; within, a heart 
Dearer than Plutus' mine, richer than gold : 
If that thou be'st a Roman, take it forth ; 
I, that denied thee gold, will give my heart : 
Strike, as thou didst at Caesar ; for I know, 
When thou didst hate him worst, thou lovedst him 

better 
Than ever thou lovedst Cassius. 

Brutus. Sheathe your dagger : 

Be angry when you will, it shall have scope ; 
Do what you will, dishonour shall be humour. 
O Cassius, you are yoked with a lamb, no 

108. scope, full play. 109. humour, passing caprice. 



Scene III] Julius Caesar 113 

That carries anger as the flint bears fire, no 

Who, much enforced, shows a hasty spark 

And straight is cold again. 
Cassius. Hath Cassius Hved 

To be but mirth and laughter to his Brutus, 

When grief and blood ill-temper'd vexeth him ? 
Brutus. When I spoke that, I was ill-temper'd too. 
Cassitis. Do you confess so much ? Give me your 

hand. 
Brutus. And my heart too. 
Cassius. O Brutus 1 

Brutus. What's the matter ? 

Cassius. Have not you love enough to bear with me, 119 

When that rash humour which my mother gave me 

Makes me forgetful ? 
Brutus. Yes, Cassius, and from henceforth, 

When you are over-earnest with your Brutus, 

He'll think your mother chides, and leave you so. 
Fo^t. [ Withift] Let me go in to see the general ; 

There is some grudge between 'em ; 'tis not meet 

They be alone. 
Lucilius. [IVit/iin] You shall not come to them. 
Poet. [ JVit/iin] Nothing but death shall stay me. 

Enter Poet, followed by Lucilius, Titinius, arid 
Lucius 

Cassizis. How now ! what's the matter ? 
Poet. For shame, you generals ! what do you mean ? 130 
Love, and be friends, as two such men should be ; 

JULIUS CyESAR — 8 



114 Julius Caesar [Act iv 

For I have seen more years, I'm sure, than ye. 
Casstus. Ha, ha ! how vilely doth this cynic rhyme 1 
Brutus. Get you hence, sirrah ; saucy fellow, hence ! 
Cassius. Bear with him, Brutus ; 'tis his fashion. 
Brutus. I'll know his humour when he knows his 
time: 

What should the wars do with these jigging fools ? 

Companion, hence ! 
Cassius. Away, away, be gone ! [Exit Poet. 

Brutus. Lucilius and Titinius, bid the commanders 

Prepare to lodge their companies to-night. 140 

Cassius. And come yourselves, and bring Messala with 
you 

Immediately to us. [Exeunt Lucilius and Titinius. 
Brutus. Lucius, a bowl of wine ! [Exit Lucius. 

Cassius. I did not think you could have been so angry. 
Brutus. O Cassius, I am sick of many griefs. 
Cassius. Of your philosophy you make no use, 

If you give place to accidental evils. 
Brutus. No man bears sorrow better : Portia is dead. 
Cassius. Ha ! Portia ! 
Brutus. She is dead. 

Cassius. How 'scaped I killing when I cross'd you 
so ? 150 

O insupportable and touching loss ! 

Upon what sickness ? 
Brutus. Impatient of my absence, 

And grief that young Octavius with Mark Antony 
133. cynic, rude man. 138. Companion, fellow. 



Scene III] Julius Caesar 115 

Have made themselves so strong ; for with her death 
That tidings came : with this she fell distract, 
And, her attendants absent, swallow'd fire. 

Cassius. And died so ? 

Brutus. Even so. 

Cassius. O ye immortal gods ! 

Re-enter Lucius, with ivine and taper 

Brutus. Speak no more of her. Give me a bowl of 
wine. 

In this I bury all unkindness, Cassius. {Drinks. 

Cassius. My heart is thirsty for that noble pledge. 160 

Fill, Lucius, till the wine o'erswell the cup ; 

I cannot drink too much of Brutus' love. {^Drinks. 
Brutus. Come in, Titinius ! \Exit Lucius. 

Re-enter Titinius, with Messala 

Welcome, good Messala. 
Now sit we close about this taper here, 
And call in question our necessities. 

Cassius. Portia, art thou gone ? 

Brutus. No more, I pray you. 

Messala, I have here received letters. 
That young Octavius and Mark Antony 
Come down upon us with a mighty power. 
Bending their expedition toward Philippi. 170 

Messala. Myself have letters of the self-same tenor. 

Brutus. With what addition ? 

165. call in guestioti, consider. 



ii6 Julius Caesar [Act iv 

Messala. That by proscription and bills of outlawry 

Octavius, Antony, and Lepidus, 

Have put to death an hundred senators. 
Brutus. Therein our letters do not well agree ; 

Mine speak of seventy senators that died 

By their proscriptions, Cicero being one. 
Cassius. Cicero one ! 
Messala. Cicero is dead, 

And by that order of proscription. i8o 

Have you your letters from your wife, my lord ? 
Brutus. No, Messala. 

Messala. Nor nothing in your letters writ of her ? 
Brutus. Nothing, Messala. 

Messala. That, methinks, is strange. 

Brutus. Why ask you ? hear you aught of her in yours ? 
Messala. No, my lord. 

Brutus. Now, as you are a Roman, tell me true. 
Messala. Then like a Roman bear the truth I tell : 

For certain she is dead, and by strange manner. 
Brutus. Why, farewell, Portia. We must die, Messala : 

With meditating that she must die once 191 

I have the patience to endure it now. 
Messala. Even so great men great losses should endure. 
Cassius. I have as much of this in art as you, 

But yet my nature could not bear it so. 
Brutus. Well, to our work alive. What do you think 

Of marching to Philippi presently ? 
Cassius. I do not think it good, 
Brutus. Your reason ? 



Scene III] JuHus Caesar 117 

Cassius. This it is : 

'Tis better that the enemy seek us : 
So shall he waste his means, weary his soldiers, 200 
Doing himself offence ; whilst we lying still 
Are full of rest, defence, and nimbleness. 

Brutus. Good reasons must of force give place to 
better. 
The people 'twixt PhiHppi and this ground 
Do stand but in a forced affection. 
For they have grudged us contribution : 
The enemy, marching along by them. 
By them shall make a fuller number up, 
Come on refresh 'd, new-added and encouraged ; 
From which advantage shall we cut him off, 210 

If at Philippi we do face him there, 
These people at our back. 

Cassius. Hear me, good brother. 

Brutus. Under your pardon. You must note beside 
That we have tried the utmost of our friends, 
Our legions are brim-full, our cause is ripe : 
The enemy increaseth every day ; 
We, at the height, are ready to decline. 
There is a tide in the affairs of men 
Which, taken at the flood, leads on to fortune ; 
Omitted, all the voyage of their life 220 

Is bound in shallows and in miseries. 
On such a full sea are we now afloat, 
And we must take the current when it serves, 
Or lose our ventures. 



Ii8 Julius Caesar [Act iv 

Cassius. Then, with your will, go on ; 

We'll along ourselves and meet them at Philippi. 
Brutus. The deep of night is crept upon our talk, ^ 

And nature must obey necessity ; 

Which we will niggard with a little rest. 

There is no more to say ? 
Cassius. No more. Good night : 

Early to-morrow will we rise and hence. 230 

Brutus. Lucius ! \Re- enter Lucius?^ My gown. \^Exit 
Lucius^ Farevvell, good Messala : 

Good night, Titinius : noble, noble Cassius, 

Good night, and good repose. 
Cassius. O my dear brother ' 

This was an ill beginning of the night : 

Never come such division 'tween our souls ! 

Let it not, Brutus. 
Brutus. Every thing is well. 

Cassius. Good night, my lord. 

Brutus. Good night, good brother. 

Titinius. Messala. Good night, Lord Brutus. 
Brutus. Farewell, every one. 

\Exeunt all but Brutus. 

Re-enter Lucius, with the gown 

Give me the gown. Where is thy instrument? 239 
Lucius. Here in the tent. 
Brutus. What, thou speak'st drowsily ? 

Poor knave, I blame thee not ; thou art o'er-watch'd. 

Call Claudius and some other of my men ; 



Scene III] Julius Caesar 119 

I'll have them sleep on cushions in my tent. 
Lucius. Varro and Claudius ! 

Enter Varro and Claudius 

Varro. Calls my lord ? 

Brutus. I pray you, sirs, lie in my tent and sleep ; 

It may be I shall raise you by and by 

On business to my brother Cassius. 
Vari'o. So please you, we will stand and watch your 

pleasure. 
Brutus. I will not have it so : lie down, good sirs ; 250 

It may be I shall otherwise bethink me. 

Look, Lucius, here's the book I sought for so ; 

I put it in the pocket of my gown. 

\yarro and Claudius lie down. 
Lucius. I was sure your lordship did not give it me. 
Brutus. Bear with me, good boy, I am much forgetful. 

Canst thou hold up thy heavy eyes awhile, 

And touch thy instrument a strain or two ? 
Lucius. Ay, my lord, an't please you. 
Brutus. It does, my boy : 

I trouble thee too much, but thou art willing. 
Lucius. It is my duty, sir. 260 

Brutus. I should not urge thy duty past thy might ; 

I know young bloods look for a time of rest. 
Lucius. I have slept, my lord, already. 
Brutus. It was well done ; and thou shalt sleep again ; 

I will not hold thee long : if I do Hve, 

I will be good to thee. \^Music, and a song. 



I20 Julius Caesar [Act V 

This is a sleepy tune. O murderous slumber, 
Lay'st thou thy leaden mace upon my boy, 
That plays thee music ? Gentle knave, good night; 
I will not do thee so much wrong to wake thee : 270 
If thou dost nod, thou break'st thy instrument; 
I'll take it from thee ; and, good boy, good night. 
Let me see, let me see ; is not the leaf turn'd down 
Where I left reading ? Here it is, I think. 

[Si'fs down. 
Enter the Ghost of C/esar 

How ill this taper burns ! Ha ! who comes here ? 

I think it is the weakness of mine eyes 

That shapes this monstrous apparition. 

It comes upon me. Art thou any thing ? 

Art thou some god, some angel, or some devil, 

That makest my blood cold, and my hair to stare ? 

Speak to me what thou art. 281 

Ghost. Thy evil spirit, Brutus. 
Brutus. Why comest thou ? 

Ghost. To tell thee thou shalt see me at Philippi. 
Brutus. Well ; then I shall see thee again ? 
Ghost. Ay, at Philippi. 
Brutus. Why, I will see thee at Philippi then. 

\^Exit Ghost. 

Now I have taken heart thou vanishest. 

Ill spirit, I would hold more talk with thee. 

Boy, Lucius ! Varro ! Claudius ! Sirs, awake ! 290 

Claudius ! 

280. stare, stand on end. 



Scene I] Julius Caesar 1 1 1 

Lucius. The strings, my lord, are false. 
Brutus. He thinks he still is at his instrument. 

Lucius, awake ! 
Lucius. My lord ? 
Brutus. Didst thou dream, Lucius, that thou so criedst 

out? 
Lucius. My lord, I do not know that I did cry. 
Brutus. Yes, that thou didst : didst thou see any thing? 
Lucius. Nothing, my lord. 
Brutus. Sleep again, Lucius. Sirrah Claudius ? 300 

\To Varro.] Fellow thou, awake ! 
Varro. My lord ? 
Claudius. My lord ? 

Brutus. Why did you so cry out, sirs, in your sleep ? 
Varro., Claudius. Did we, my lord ? 
Brutus. Ay : saw you any thing ? 

Varro. No, my lord, I saw nothing. 
Claudius. Nor I, my lord. 

Brutus. Go and commend me to my brother Cassius ; 

Bid him set on his powers betimes before, 

And we will follow. 
Varro, Claudius. It shall be done, my lord. \Exeu7it. 

ACT V 

Scene I. The plains of Philippi 

Enter Octavius, Antony, and their army 

Octavius. Now, Antony, our hopes are answered : 
You said the enemy would not come down, 



122 Julius Caesar [Act v 

But keep the hills and upper regions ; 
It proves not so : their battles are at hand ; 
They mean to warn us at Philippi here, \ 
Answering before we do demand of them. 
Antony. Tut, I am in their bosoms, and I know 
Wherefore they do it : they could be content 
To visit other places ; and come down 
With fearful bravery, thinking by this face lo 

To fasten in our thoughts that they have courage ; 
But 'tis not so. 

Enter a Messenger 

Messenger. Prepare you, generals : 

The enemy comes on in gallant show ; 
Their bloody sign of JDattle is hung out, 
And something to be done immediately. 

Antony. Octavius, lead your battle softly on, 
Upon the left hand of the even field. 

Octavius. Upon the right hand I ; keep thou the left. 

Antony. Why do you cross me in this exigent ? 19 

Octavius. I do not cross you ; but I will do so. \^March. 

Drum. Enter Brutus, Cassius, and their army ; 
LuciLius, TiTiNius, Messala, and others 

Brutus. They stand, and would have parley. 
Cassius. Stand fast, Titinius : we must out and talk. 
Octavius. Mark Antony, shall we give sign of battle ? 

4. battles, battalions. 5. warn, summon. 7. bosoms, confidence. 
19. exigent, crisis. 



Scene I] Julius Caesar 123 

Antony. No, Caesar, we will answer on their charge. 

Make forth ; the generals would have some words. 
Octavius. Stir not until the signal. 
Brutus, Words before blows : is it so, countrymen ? 
Octavius. Not that we love words better, as you do. 
Brutus. Good words are better than bad strokes, 

Octavius. 
Antony. In your bad strokes, Brutus, you give good 
words : * 30 

Witness the hole you made in Caesar's heart, 

Crying ' Long live ! hail, Caesar ! ' 
Cassius. Antony, 

The posture of your blows are yet unknown ; 

But for your words, they rob the Hybla bees, 

And leave them honeyless. 
Antony. Not stingless too. 

Brutus. O, yes, and soundless too ; 

For you have stol'n their buzzing, Antony, 

And very wisely threat before you sting. 
Antony. Villains, you did not so, when your vile daggers 

Hack'd one another in the sides of Caesar : 40 

You show'd your teeth like apes, and fawn'd like 
hounds, 

And bow'd like bondmen, kissing Caesar's feet ; 

Whilst damned Casca, like a cur, behind 

Struck Caesar on the neck. O you flatterers ! 
Cassius. Flatterers ! Now, Brutus, thank yourself : 

This tongue had not offended so to-day. 

If Cassius might have ruled. 



124 Julius Caesar [Act v 

Octavius. Come, come, the cause : if arguing make us 
sweat, 

The proof of it will turn to redder drops. 

Look ; 50 

I draw a sword against conspirators ; 

When think you that the sword goes up again ? 

Never, till Caesar's three and thirty wounds 

Be well avenged, or till another Caesar 

Have added slaughter to the sword of traitors. 
Brutus. Caesar, thou canst not die by traitors' hands. 

Unless thou bring'st them with thee. 
Octavius. So I hope : 

I was not born to die on Brutus' sword. 
Brutus. O, if thou wert the noblest of thy strain, 59 

Young man, thou couldst not die more honourable. 
Cassius. A peevish schoolboy, worthless of such honour, 

Join'd with a masker and a reveller! 
Antony. Old Cassius still ! 
Octavius. Come, Antony ; away ! 

Defiance, traitors, hurl we in your teeth ; 

If you dare fight to-day, come to the field ^V 

If not, when you have stomachs. 

\_Exeunt Octavius^ Antony, and their an?iy. 
Cassius. Why, now, blow wind, swell billow, and swim 
bark! 

The storm is up, and all is on the hazard. 
Brutus. Ho, Lucilius ! hark, a word with you. 
Lucilius. \_Standi7ig forth'] My lord ? 

\_Bi'utus and Lucilius co7iverse apart. 



Scene I] Julius Caesar 125 

Cassius. Messala ! 

Messala. \_S fan ding for fh^ What says my general ? 70 

Cassius. Messala, 

This is my birth-day ; as this very day 

Was Cassius born. Give me thy hand, Messala : 

Be thou my witness that, against my will, 

As Pompey was, am I compell'd to set 

Upon one battle all our liberties. 

You know that I held Epicurus strong, 

And his opinion : now I change my mind, 

And partly credit things that do presage. 

Coming from Sardis, on our former ensign 80 

Two mighty eagles fell, and there they perch 'd. 

Gorging and feeding from our soldiers' hands ; 

Who to Philippi here consorted us : 

This morning are they fled away and gone ; 

And in their steads do ravens, crows, and kites 

Fly o'er our heads and downward look on us. 

As we were sickly prey : their shadows seem 

A canopy most fatal, under which 

Our army lies, ready to give up the ghost. 

Messala. Believe not so. 

Cassius. I but believe it partly, 90 

For I am fresh of spirit and resolved 
To meet all perils very constantly. 

Brutus. Even so, Lucilius. 

Cassius. Now, most noble Brutus, 

The gods to-day stand friendly, that we may, 
80. former, foremost. 83. consorted, escorted. 



126 Julius Cassar [Act V 

Lovers in peace, lead on our days to age ! 

But, since the affairs of men rest still incertain, 

Let's reason with the worst that may befall. 

If we do lose this battle, then is this 

The very last time we shall speak together : 

What are you then determined to do ? loo 

Brutus. Even by the rule of that philosophy 
By which I did blame Cato for the death 
Which he did give himself : I know not how, 
But I do find it cowardly and vile, 
For fear of what might fall, so to prevent 
The time of life : arming myself with patience 
To stay the providence of some high powers 
That govern us below. 

Cassius. Then, if we lose this battle. 

You are contented to be led in triumph 
Thorough the streets of Rome? no 

Brutus. No, Cassius, no : think not, thou noble Roman, 
That ever Brutus will go bound to Rome ; 
He bears too great a mind. But this same day 
Must end that work the ides of March begun •, 
And whether we shall meet again 1 know not. 
Therefore our everlasting farewell take. 
For ever, and for ever, farewell, Cassius ! 
If we do meet again, why, we shall smile ; 
If not, why then this parting was well made. 

Cassius. For ever, and for ever, farewell, Brutus ! 1.20 
If we do meet again, we'll smile indeed; 

96. incertain, uncertain. 105. prevent, anticipate. 



Scene III] Julius Cassar 127 

If not, 'tis true this parting was well made. 
Brutus. Why then, lead on. O, that a man might 
know 
The end of this day's business ere it come I 
But it sufficeth that the day will end, 
And then the end is known. Come, ho ! away ! 

\_Exeunt. 

Scene II. The field of battle 

Alarum. Enter Brutus and Messala 

Brutus. Ride, ride, Messala, ride, and give these bills 
Unto the legions on the other side : \Loud alarum. 
Let them set on at once ; for I perceive 
But cold demeanour in Octavius' wing. 
And sudden push gives them the overthrow. 
Ride, ride, Messala : let them all come down. 

\Exeunt. 

Scene III. Another part of the field 
Alarums. Enter Cassius and Titinius 

Cassius. O, look, Titinius, look, the villains fly ! 

Myself have to mine own turn'd enemy : 

This ensign here of mine was turning back ; 

I slew the coward, and did take it from him. 
Titinius. O Cassius, Brutus gave the word too early ; 

Who, having some advantage on Octavius, 

Scene IT. i. hills, written orders. 



128 Julius Caesar [Act v 

Took it too eagerly : his soldiers fell to spoil, 
Whilst we by Antony are all enclosed. 

Enter Pindarus 

Pindarus. Fly further off, my lord, fly further off ; 
Mark Antony is in your tents, my lord : lo 

Fly, therefore, noble Cassius, fly far off. 

Cassius. This hill is far enough. Look, look, Titinius ; 
Are those my tents where I perceive the fire ? 

Titinius. They are, my lord. 

Cassius. Titinius, if thou lovest me, 

Mount thou my horse and hide thy spurs in him, 
Till he have brought thee up to yonder troops 
And here again ; that I may rest assured 
Whether yond troops are friend or enemy. 

Titinius. I will be here again, even with a thought. 

\_Exit. 

Cassius. Go, Pindarus, get higher on that hill ; 20 

My sight was ever thick ; regard Titinius, 
And tell me what thou notest about the field. 

\Pindarus ascends the hill. 
This day I breathed first : time is come round. 
And where I did begin, there shall I end ; 
My life is run his compass. Sirrah, what news ? 

Pindarus. \^Above'\ O my lord ! 

Cassius. What news ? 

Pinda?'us. \_Adove'] Titinius is enclosed round about 
With horsemen, that make to him on the spur ; 
Yet he spurs on. Now they are almost on him. 30 



Scene III] Julius Caesar 129 

Now, Titinius ! Now some light. O, he Hghts too. 
He's ta'en. [Shout^ And, hark ! they shout for 
joy. 
Cassius. Come down ; behold no more. 
O, coward that I am, to live so long, 
To see my best friend ta'en before my face ! 

PiNDARUS descends 

Come hither, sirrah : 

In Parthia did I take thee prisoner ; 

And then I swore thee, saving of thy life, 

That whatsoever I did bid thee do, 

Thou shouldst attempt it. Come now, keep thine 

oath ; 40 

Now be a freeman ; and with this good sword. 
That ran through Caesar's bowels, search this bosom. 
Stand not to answer : here, take thou the hilts ; 
And when my face is cover'd, as 'tis now. 
Guide thou the sword. [^Pindarus stabs him.'] Caesar, 

thou art revenged, 
Even with the sword that kill'd thee. [^Dies. 

Pindariis. So, I am free ; yet would not so have been, 
Durst I have done my will. O Cassius ! 
Far from this country Pindarus shall run, 
Where never Roman shall take note of him. {Exit. 

Re-e7iter Titinius with Messala 

Messala. It is but change, Titinius ; for Octavius 51 
Is overthrown by noble Brutus' power, 
As Cassius' legions are by Antony. 

JULIUS C^>SAR — 9 



130 Julius Caesar [Act v 

Titinius. These tidings will well comfort Cassius. 

Messala. Where did you leave him ? 

Titinius. All disconsolate, 

With Pindarus his bondman, on this hill. 

Messala. Is not that he that lies upon the ground ? 

Titinius. He lies not like the living, O my heart ! 

Messala. Is not that he ? 

Titinius. No, this was he, Messala, 

But Cassius is no more. O setting sun, 60 

As in thy red rays thou dost sink to-night. 
So in his red blood Cassius' day is set, 
The sun of Rome is set ! Our day is gone ; 
Clouds, dews and dangers come ; our deeds are 

done ! 
Mistrust of my success hath done this deed. 

Messala. Mistrust of good success hath done this deed. 
O hateful error, melancholy's child. 
Why dost thou show to the apt thoughts of men 
The things that are not ? O error, soon conceived, 
Thou never comest unto a happy birth, 70 

But kill'st the mother that engender'd thee ! 

Titinius. What, Pindarus ! where art thou, Pindarus ? 

Messala. Seek him, Titinius, whilst I go to meet 
The noble Brutus, thrusting this report 
Into his ears : I may say ' thrusting ' it, 
For piercing steel and darts envenomed 
Shall be as welcome to the ears of Brutus 
As tidings of this sight. 
68. apt, impressionable. 71. engender'' d, gave birth to. 



Scene III] Julius Caesar 131 

Titiniiis. Hie you, Messala, 

And I will seek for Pindarus the while. 

S^Exit Messala. 
Why didst thou send me forth, brave Cassius ? 80 
Did I not meet thy friends ? and did not they 
Put on my brows this wreath of victory. 
And bid me give it thee ? Didst thou not hear their 

shouts ? 
Alas, thou hast misconstrued every thing 1 
But, hold thee, take this garland on thy brow ; 
Thy Brutus bid me give it thee, and I 
Will do his bidding. Brutus, come apace. 
And see how I regarded Caius Cassius. 
By your leave, gods : this is a Roman's part : 
Come, Cassius' sword, and find Titinius' heart. 90 

{^Kills himself. 

Alai'um. Re-enter Messala, with Brutus, young Cato, 
and others 

Brutus. Where, where, Messala, doth his body lie ? 

Alessala. Lo, yonder, and Titinius mourning it. 

Brutus. Titinius' face is upward. 

Cato. He is slain. 

Brutus. O Julius Caesar, thou art mighty yet ! 
Thy spirit walks abroad, and turns our swords 
In our own proper entrails. \Low alarums, 

Cato. Brave Titinius ! 

Look, whether he have not crown'd dead Cassius ! 

Brutus. Are yet two Romans living such as these ? 



132 Julius Caesar [Act v 

The last of all the Romans, fare thee well ! 
It is impossible that ever Rome 100 

Should breed thy fellow. Friends, I owe moe tears 
To this dead man than you shall see me pay. 
I shall find time, Cassius, I shall find time. 
Come therefore, and to Thasos send his body : 
His funerals shall not be in our camp, 
Lest it discomfort us. Lucilius, come, 
And come, young Cato : let us to the field. 
Labeo and Flavins, set our battles on. 
^'Tis three o'clock; and, Romans, yet ere night 109 
We shall try -fortune in a second fight. \Exeunt. 



Scene IV. Another part of the field 

Alarum. Enter, fightmg, SoXdiQxs of both armies; then 
Brutus, young Cato, Lucilius, and others 

Brutus. Yet, countrymen, O, yet hold up your heads ! 
Cato. What bastard doth not ? Who will go with me ? 

I will proclaim my name about the field. 

I am the son of Marcus Cato, ho ! 

A foe to tyrants, and my country's friend ; 

I am the son of Marcus Cato, ho ! 
Brutus. And I am Brutus, Marcus Brutus, I ; 

Brutus, my country's friend ; know me for Brutus ! 

\^Exit. 
Lucilius. O young and noble Cato, art thou down ? 

loi. moe, more. 



Scene IV] Julius Caesar 133 

Why, now thou diest as bravely as Titinius, 10 

And mayst be honour'd, being Cato's son. 
First Soldier. Yield, or thou diest. 

Lucilius. Only I yield to die : 

\_Offering money\ There is so much that thou wilt 

kill me straight ; 
Kill Brutus, and be honour'd in his death. 
First Soldier. We must not. A noble prisoner ! 
Second Soldier. Room, ho ! Tell Antony, Brutus is 

ta'en. 
First Soldier. I'll tell the news. Here comes the 
general. 

Enter Antony 

Brutus is ta'en, Brutus is ta'en, my lord. 

Antony. Where is he ? 

Lucilius. Safe, Antony ; Brutus is safe enough : 20 

I dare assure thee that no enemy 
Shall ever take alive the noble Brutus : 
The gods defend him from so great a shame 1 
When you do find him, or alive or dead, 
He will be found like Brutus, like himself. 

Antony. This is not Brutus, friend, but, I assure you, 
A prize no less in worth : keep this man safe, 
Give him all kindness : I had rather have 
Such men my friends than enemies. Go on, 
And see whether Brutus be alive or dead, 30 

And bring us \vord unto Octavius' tent 
How every thing is chanced. \Exeunt, 



134 Julius Caesar [Act v 



Scene V. A?iother part of the field 
Enter Brutus, Dardanius, Clitus, Strato, and 

VOLUMNIUS 

Brutus. Come, poor remains of friends, rest on this 

rock. 
Clitus. Statilius show'd the torch-light, but, my lord,\ 

He came not back : he is or ta'en or slain. 
Brutus. Sit thee down, Clitus : slaying is the word ; 

It is a deed in fashion. Hark thee, Clitus. 

[ IVhispef ing. 
Clitus. What, I, my lord ? No, not for all the world. 
Brutus. Peace then, no words. 

Clitus. I'll rather kill myself. 

Brutus. Hark thee, Dardanius. \lVhispering. 

Dardanius. Shall I do such a deed ? 

Clitus. O Dardanius ! 

Dardanius. O Clitus ! lo 

Clitus. What ill request did Brutus make to thee ? 
Dardanius. To kill him, Clitus. Look, he medi- 
tates. 
Clitus. Now is that noble vessel full of grief, 

That it runs over even at his eyes. 
Brutus. Come hither, good Volumnius ; list a word. 
Voluninius. What says my lord ? 

Brutus. Why this, Volumnius : 

, The ghost of Caesar hath appear'd to me 

Two several times by night ; at Sardis once, 



Scene V] Julius Caesar 135 

And this last night here in Philippi fields ; 
I know my hour is come. 
Volumnius. Not so, my lord. 20 

Brictus. Nay, I am sure it is, Volumnius. 

Thou seest the world, Volumnius, how it goes ; 
Our enemies have beat us to the pit : SJ^ow alarutfis. 
It is more worthy to leap in ourselves 
Than tarry till they push us. Good Volumnius, 
Thou know'st that we two went to school together : 
Even for that our love of old, I prithee, 
Hold thou my sword-hilts, whilst I run on it. 
Volumnius. That's not an office for a friend, my lord. 

\Alarum still. 
Clitus. Fly, fly, my lord ; there is no tarrying here. 30 
Brutus. Farewell to you ; and you ; and you, Volumnius. 
Strato, thou hast been all this while asleep ; 
Farewell to thee too, Strato. Countrymen, 
My heart doth joy that yet in all my life 
I found no man but he was true to me. 
I shall have glory by this losing day, 
More than Octavius and Mark Antony 
By this vile conquest shall attain unto. 
So, fare you well at once ; for Brutus' tongue 
Hath almost ended his life's history : 40 

Night hangs upon mine eyes ; my bones would 

rest, 
That have but labour'd to attain this hour. 

\_Alaruf?i. Cry within^ ' Fly, fly., fly f ' 
Clitus. Fly, my lord, fly. 



136 Julius Caesar [Act v 

Brutus. Hence ! I will follow, 

\Exeunt Clitus, Dardajiius, and Volumiiius. 
I prithee, Strato, stay thou by thy lord : 
Thou art a fellow of a good respect ; 
Thy life hath had some smatch of honour in it : 
Hold then my sword, and turn away thy face. 
While I do run upon it. Wilt thou, Strato ? 
Strato. Give me your hand first : fare you well, my 

lord. 
Brutus. Farewell, good Strato. \Runs on his s^aord.] 
Caesar, now be still : 50 

I kill'd not thee with half so good a will. [£>ies. 

Alarum. Retreat. Enter Octavius, Antony, Messala, 
LuciLius, and the ari7iy 

Octavius. What man is that ? 

Messala. My master's man. Strato, where is thy 

master ? 
Strato. Free from the bondage you are in, Messala : 
The conquerors can but make a fire of him ; 
For Brutus only overcame himself, 
And no man else hath honour by his death. 
Lucilius. So Brutus should be found. I thank thee, 
Brutus, 
That thou hast proved Lucilius' saying true. 
Octavius. All that served Brutus, I will entertain 
them. 60 

Fellow, wilt thou bestow thy time with me ? 

46. smaich,idi.?Xe. 61. besicnv, S'^tnd, 



Scene V] JuHus Caesar ijy 

Straio. Ay, if Messala will prefer me to you. 

Octavitis. Do so, good Messala. 

Messala. How died my master, Strato ? 

Strato. I held the sword, and he did run on it. 

Messala. Octavius, then take him to follow thee, 
That did the latest service to my master. 

Antony. This was the noblest Roman of them all : 
All the conspirators, save only he, 
Did that they did in envy of great Caesar ; 70 

He only, in a general honest thought 
And common good to all, made one of them. 
His life was gentle, and the elements 
So mix'd in him that Nature might stand up 
And say to all the world ' This was a man ! ' 

Octavius. According to his virtue let us use him, 
With all respect and rites of burial. 
Within my tent his bones to-night shall lie, 
Most like a soldier, order'd honourably. 
So call the field to rest, and let's away, 80 

To part the glories of this happy day. \Exeunt. 

81. part., divide. 



NOTES 



ACT I. SCENE I 

■'J I .iJ/-'-''-'- '* ■" '■ 
The play oi Julius Ccesar covers, m point of time, the period 

between October, 45 B.C., when Caesar celebrated his last triumph, 
and the battle of Philippi, which took place in 42 B.C. Shake- 
speare combines the triumph in October with the feast of Lupercal 

iMn the following February. The play consumes in action s«-or 

" 'SBVgft-days. 

In the first act the conspiracy against Caesar is disclosed, and the 
chief actors in the tragedy are introduced in characteristic speeches 
or actions. Caesar is shown, not only as dictator clothed with su- 
preme authority, but as superstitious and vacillating, with senses 
impaired by approaching age. Cassius reveals at once the jealousy 
which Caesar's success had engendered in the minds of the men 
who had once been his equals in the Roman state, and Brutus the 
fear for the freedom of Rome which Caesarism bred in Romans who 
loved liberty and the old political order. The antagonism of both 
groups is intensified by the offer of the crown to Caesar with the 
approval of the populace. In the second act the conspiracy is 
thoroughly organized by the accession of Brutus, and a plan of 
action is agreed upon. The collision of ideas and persons which are 
the elements of the tragedy is clearly revealed and the action set 
in motion. In the third act Caesar falls by the hands of the con- 
spirators, and the two opposing forces which meet in conflict appear, 
and the later and broader movement of the tragedy begins. An- 
tony, who loves Gesar and understands to a certain extent the new 
order of things which Csesar has brought about and the new demo- 

139 



140 Notes [Act I 

cratic force which he discerned, used for his own ends, and has 
come to personify, rouses the people to mutiny and turns them 
against the conspirators, who are defeated in their first encounter 
with Caesarism and forced to fly from the city and organize armies 
to protect themselves. In the fourth act war breaks out between 
the two parties who contend for supremacy in Roman affairs ; 
Antony, Octavius, and Lepidus make common cause against the 
conspirators and act together: while Brutus and Cassius pursue 
different courses, quarrel, are reconciled, and, against the judgement 
of Brutus, a decisive battle is fought. In the fifth and final act the 
failure of Brutus and Cassius to co-operate results in the defeat of 
their armies, the suicide of the leaders, and the triumph, not only 
of Antony and Octavius, but of the spirit of Caesar, whose ghost 
appears to Brutus the night before the battle. 

A German critic has said of the plays of Shakespeare which 
deal with the English kings that England is the real hero of them ; 
and an English critic has declared that the hero of the three Roman 
plays is Rome. In Julius Ccesar, Antony and Cleopatra^ and 
Coriolanus three important stages in the movement of political 
and social affairs in the empire are distinctly outlined and the 
great force which dominated them brought into clear light. But 
while this is especially true o{ Julius Ccesar, the play is pre-emi- 
nently a character play, and the forces for change at work in society 
are personified in men of striking personal energy and character. 
Csesar appears first in the second scene of the first act, reappears in 
only three scenes, and is assassinated in the fi^rst scene of the third 
act in the very middle of the play. With his fall the action of the 
play may be said to begin. In each appearance of Caesar some 
evidence of weakness is brought out : deafness, swooning, lack of 
physical strength, vacillation of purpose, superstition, theatrical 
posing, accessibility to flattery, pomposity ; and yet C?esar remains 
the central and dominating figure in the play, and his personality 
becomes more potential as the play nears its end ! Caesar is one 
of the foremost men in history by reason of extraordinary natural 



Scene I] Notes 141 

endowments : force of will, breadth of mind, civil and military gen- 
ius, the capacity for thought, and the power to act. Like Napoleon, 
he understood his age and knew how to make use of events and 
conditions to carry him to the foremost place in Rome and enable 
him to take the power of the state into his own hands. Ronje had 
outgrown her earlier institutions. They had worked well when the 
city was the head of a small group of neighbouring communities, but 
they were ill adapted to the needs of a state which had become, or 
was fast becoming, the mistress of the world. The time was ripe 
for change ; and Caesar saw, what none of his older contemporaries 
saw, that the old order was outgrown. Rome had really ceased to 
be a republic and become an empire, and he made himself em- 
peror. His name, reproduced in Tsar and Kaiser, has become the 
synonym of supreme personal authority in the state. Antony and 
Octavius saw this with some clearness; but none of the conspira- 
tors understood it. Brutus and Cassius thought that by killing 
Caesar they should kill the absolutism for which he stood, and did 
not see until later that, while they could destroy Caesar's body, they 
could not touch Caesar's spirit. Caesar died, but Caesarism lived on 
for generations. It is probable that Shakespeare brought the. 
increasing infirmities of Caesar's old age into prominence in order 
that his tremendous grasp of his time, his discernment of its needs, 
and his identification of himself with its conditions might be 
the more dramatically indicated on the stage. The idea of govern- 
ment for which Caesar stood, the imperial spirit of the great ruler, 
confronted the conspirators and finally defeated them at Philippi. 
Cassius dies with this acknowledgment on his lips : 

" Caesar, thou art revenged, 
Even with the sword that killed thee." 

8. What dost thoti with thy best apparel on ? In the Middle 
Ages, and to some extent in antiquity, each occupation and rank had 
its peculiar dress, so that a man's place and calling in society were 
shown by the clothes he wore. This ancient custom survives in 



142 Notes [Act I 

England in the dress of certain officers of the government, in the 
gorgeous robes of state worn on great occasions, in the wigs and 
gowns of the speaker of the House of Commons, the Lord Chan- 
cellor, the judges, the robes or gowns of the archbishops and 
bishops, and the members of the universities. Before Shakespeare's 
time mechanics and tradesmen were regarded by the law as per- 
sons of low rank, and compelled to wear the dress of their occu- 
pation. There may have been such a law in force in Rome, or 
Shakespeare may have carried an English custom into another 
country, as he often did. 

28. Shakespeare, after the fashion of his time, was much given 
to punning. This shoemaker was a humorist, although the Trib- 
une seems to have taken the joking seriously. 

38. When Roman generals returned from successful campaigns, 
they were received with great ceremony, and the conquered 
princes or chiefs who had been made tributaries of Rome were 
led through the streets of the city in the triumphal procession. 
Coesar's last war was waged in Spain against the sons of Pompey, 
and Romans resented the triumph on his return to Rome 
" because he had not overcome captains that were strangers, nor 
barbarous kings, but had destroyed the sons of the noblest man in 
Rome." 

50. The river which flowed through Rome was so much a 
part of the city that the Romans spoke of it as a person ; in 
Shakespeare's time there was no fixed rule about the gender of 
rivers. 

69. Images of Coesar had been set up in Rome, and on this occa- 
sion were decorated probably with wreaths of laurel, with a diadem 
tied in the laurel by ribbons. Casca calls them "scarfs." 

72. The Feast of Lupercal was a festival in honour of Lupercus, 
the Italian wolf-god. It was celebrated in February, and on the 
festal day, called dies februatiis (from februare, to purify), the 
Luperci, or priests, smote with a leather thong those they met, as 
a token of purification. 



Scene II] Notes 1 43 

75. The vulgar refers to the plebeians, or people of the lowest 
rank in Rome. 



ACT I. SCENE II 

17. The Ides fell on the 15th day in March, May, July, and 
October ; in other months they fell on the 13th. The signiticance 
of the Ides seems to have been simply that they marked the 
middle of the month, and made a natural date for business trans- 
actions. The feast of Lupercal fell in the month of February, but 
Shakespeare moves the day forward a montlj for North's trans- 
lation reads : " there was a certain soothsayer that had given 
warning long time afore, to take heed of the Ides of March, for 
on that day he would be in great danger." 

25. The word " sennet," in the stage directions, refers to the 
notes played on a musical instrument announcing the approach of 
royal or semi-royal personages. 

40. Feelings at variance with each other. 

72. Rowe changed the word " laughter " to " laugher," which 
is perpetuated in the modern text and spoils the meaning. Cassius 
means " were I an object of laughter, as a man like Antony is." 

109. hearts of controversy, courageous spirit. 

112. ^neas is the hero of Virgil's ^neid. He was one of the 
most valiant defenders of Troy against the Greeks. According to 
Virgil, after many adventures, he settled in Italy and married La- 
vinia, daughter of King Latinus. The origin of the Roman state 
is ascribed by tradition to him and his heirs. 

136. The Colossus was one of the seven wonders of the world. 
It was a brazen statue of Apollo, executed by Chares of Lindus, 
and completed in 280 B.C. The statement that one foot rested on 
each side of the harbour is not sustained by good authority. The 
statue was 105 feet high, and was ascended by a winding staircase. 
It was overthrown by an earthquake about 224 B.C. and nevej; 
re-erected. 



144 Notes [Act I 

140. There was a general belief* that the stars in ascendency at 
the hour of birth greatly influenced the fortunes of after life. 

152. The flood referred to was that in which Deucalion and 
Pyrrha saved themselves, as did Noah, by building a boat which 
finally rested on Mount Parnassus. The story is told by Hesiod 
and also by Ovid. 

159. The famous ancestor of Brutus, Junius Brutus, who defeated 
the designs of the Tarquins to make themselves kings in Rome. 

257. Epilepsy. 

267. An instance of the " ethical dative," the me shows " a 
certain interest felt by the person indicated." 

282. Plutarch describes Cicero as a coward and not to be trusted 
by the conspirators, although they believed he dreaded Caesar's 
growing power. The words " he spoke Greek " suggest that in 
his very cautious way he was expressing agreement with them. 

313. Even the nobility of Brutus might be influenced by men 
less virtuous and firm. 

ACT I. SCENE III 

10 and 15. Compare North's Plutarch, Life of Ccesar : "Touch- 
ing the fires in the element, and spirits running up and down in the 
night, and also the solitary birds to be seen at noon days sitting 
in the great market-place, are not all these signs perhaps worth 
the noting in such a wonderful chance as happened ? But Strabo 
the Philosopher writeth, that divers men were seen going up and 
down in fire; and furthermore, that there was a slave of the sol- 
diers that did cast a marvellous burning flame out of his hand, 
insomuch as they that saw it thought he had been burnt : when the 
fire was out, it was found he had no hurt." 

26. The owl — always an omen of evil. 

49. The thunder-stone is explained by Craik to be " the imagi- 
nary product of thunder, which the ancients called ' Brontia,' 
mentioned by Pliny as a species of gem, and as that which falling 



Scene 1] Notes 1 45 

with the lightning, does the mischief. It is the fossil commonly 
called the ' Belemnite ' or * finger-stone,' " It is now known to be 
a kind of fossil cuttle-fish. 

126. Pompeys porch was the large portico of Pompey's theatre. 
Plutarch makes the meeting of the senate and Cesar's assassination 
take place here. 

143. In ancient Rome " Prcetor " was the title of several high 
officials. The Praetor was the third officer in rank in the state, 
inferior to the consuls only. He was first chosen in 366 B.C. Con- 
suls themselves, when at the head of armies, were called Praetors. 
In later times the number of the Praetors was greatly increased and 
some were assigned to the provinces. Praetors were, in fact, 
judges of civil and criminal law. 

147. The image of Junius Brutus, who expelled the Tarquins 
from Rome. 

152. Pompey^s theatre was a famous theatre and popular resort, 
situated in that part of Rome now known as the Campo di Fiore. 

ACT II. SCENE I 

Brutus is one of the noblest of Shakespeare's men; there is no 
taint of self-seeking, falsehood, or cowardice in him; he is the 
embodiment of every kind of integrity. But he is a man predes- 
tined to failure because, while his spirit is of the purest and his 
aims of the highest, he lacks a keen sense of realities and sound 
judgement in dealing with events. To carry out great plans a man 
must not only have the mind which conceives them, but the faculty 
of seeing what can be done and how to do it. Brutus was the 
descendant of one of the noblest of the Romans and had been 
deeply impressed by the tradition of his ancestor's great service to 
the people; he was a lover and student of books, and philosophy 
was to him not so much a system of thought as a plan of living to 
be faithfully worked out at any cost. He loved the great traditions 
of Rome and was ready to die for his idea of Roman citizenship; 
JULIUS c^SAR — 10 



146 Notes [Act II 

but he did not know the Rome of his day and did not understand 
the changes which had taken place in the relation of Rome to the 
world. He confused ideals with realities and did not see things as 
they were. He was a noble but not an effective man; an idealist 
who lacked clear knowledge of his fellows and his time. Shake- 
speare represents him as a pure-minded and disinterested man, who 
commits an act of violence without passion and in the spirit of a 
divinely commissioned executioner of judgement on a great crimi- 
nal; a man predestined to failure because he cannot calculate the 
strength of the forces which he opposes ; but a man who makes 
failure an occasion for winning the noblest moral success. He 
keeps his integrity unspotted to the end, and his enemies are quick 
to recognize him, when he lies dead on the field, as " the noblest 
Roman of them all." 

"All the conspirators, save only he, 
Did that they did in envy of great Caesar; 
He only, in a general honest thought 
And common good to all, made one of them. 
His life was gentle, and the elements 
So mix'd in him that Nature might stand up 
And say to all the world, ' This was a man ! ' " 

I. A common form of speech for summoning a servant or re- 
tainer. 

19. remorse. This word in Shakespeare usually signifies " pity," 
but here it means " conscience." 

40. Ides of March — the 15th of March. 

44. Electrical balls, called St. Elmo's Fire. 

53. Lucius Junius Brutus headed a revolt and drove the Tarquins 
from Rome. For this service " the ancient Romans made his statue 
of brass to be set up in the capitol." 

66. The Genius was the spirit temporarily inhabiting the body, 
and directing for good or bad the bodily faculties. 

84. Erebus was the region of utter darkness between Earth and 
Hades. 



Scene H] Notes 147 

114. Plutarch says that they took no oaths and gave no pledges 
of secrecy. 

119. Men were sometimes singled out for sentence by drawing 
lots, in cases in which, as in a mutiny, a whole company was im- 
plicated. 

150. Expressing the widely held opinion that Cicero was a cow- 
ard and a "trimmer." 

162. The conspirators, with the single exception of Brutus, wanted 
to kill Antony because they thought him unscrupulous, insincere, 
and ambitious. 

204. Refers to various devices for entrapping wild animals, as 
decoy-ducks are used to-day. 

295. Cato was one of the most eminent men of the aristocratic 
party in Rome, and after the battle of Thapsus he took his own 
Hfe rather than accept mercy from Caesar. His name stood for 
honour and stern integrity. 

300. To satisfy herself of her powers of endurance Portia had 
taken " a little razor, such as barbers occupy to pare men's nails, 
and causing her maids and women to go out of her chamber, gave 
herself a great gash withal in her thigh, that she was straight all of 
a gore bloud : and incontinently after, a vehement feaver took her, 
by reason of the pain of her wound. Then . . . even in her great- 
est pain of all, she spake." (North.) 

315. wear a kerchief! An Elizabethan custom in sickness. 

323. An exorcist is one who raises spirits. 

ACT II. SCENE II 

39. Any thing unusual or abnormal in a sacrifice was regarded as 
an omen of ill. 

89. Tinctures were memorial blood-stains, and the word refers 
to the practice of persons dipping their handkerchiefs in the blood 
of those whom they regarded as martyrs. Cognizances were badges 
of honour. 



48 Notes [Act III 



ACT 11. SCENE III 

" One Artemidorus also born in the Isle of Gnidos, a doctor of 
rhetoric in the Greek tongue, who by means of his profession was 
very familiar with certain of Brutus's confederates, and therefore 
knew the most part of all their practices against Caesar, came and 
brought him a little bill written with his own hand, of all that he 
meant to tell him." (North.) 

ACT III. SCENE I 

Antony's nature and character are in striking contrast to those 
of Brutus and Cassius. He was capable of great and sincere devo- 
tion, as his affection for Ceesar shows; but he was incapable of 
self-denial and self-sacrifice. He could be resolute, bold, resource- 
ful; but lacked self-control and steadfastness of purpose. He 
could make great sacrifices to his passions, but not to his princi- 
ples; for Cleopatra he " threw a world away." He had an inven- 
tive and daring mind; he was brilliant in conception and swift 
in execution ; his imagination was fervid and gave a certain 
splendour to his personality and career, but it coloured his judge- 
ment; he had a sensitive and brilliant temperament and a rare 
faculty of making men serve and women love him; but his strength 
lay in his gifts of nature, not in his force of character; and he 
was predestined to failure because he sacrificed his duties and 
his opportunities to his passions. He was the victim, not the 
master of conditions ; the servant, not the ruler of his impulses; 
and, in partnership with a cool, calculating, clear-minded man like 
Octavius, he was overmatched at every point. He was not lacking 
in feeling, in artistic sense, in vividness of imagination, in quick 
perception of dramatic values, and in swift adaptability. He coolly 
offers to die as the price of his loyalty to Caesar; but he is quick 
to feel the pulse of Rome, and his treatment of the perilous situa- 



Scene I] Notes 149 

tion which confronted him when the death of Caesar seemed to 
put Rome into the hands of the conspirators is masterly in its clear 
perception of the popular temper and its adroit appeal to popular 
feeling. There is no more superb example of the finest quality of 
demagogism than the speech over Caesar's body; it is a master- 
piece of that kind of oratory which follows with the quickness of 
genius the moods of an audience and plays upon it as if it were an 
instrument in the hand of a performer. Sooner or later, in the 
testing of events, a brilliant temperament without adequate moral 
basis degenerates into a kind of tawdry gaiety, and courage sinks 
into braggadocio. In spite of his rich humour, Falstaff becomes a 
vulgar old man, and the audacious and resourceful Antony of the 
campaign which ended victoriously at Philippi becomes the vacil- 
lating and ineffective Antony who plays the coward at the battle 
of Actium. 

28. Prefer his suit, present his request. 

74. Olympus, a mountain which formed part of the chain which 
constituted the boundary of ancient Greece. In Greek mythology, 
Olympus was the chief seat of the third dynasty of gods, of which 
Jupiter was the head. 

77. The phrase " et tu, Brute ! " was well known in Shakespeare's 
time, having been used in other plays. In North's translation of 
Plutarch, Caesar is twice described as crying out " in Latin." 

80. Small platforms, or rostra, were set up in the Forum for the 
use of orators. 

94. Let no man suffer for this deed but we who committed it. 

174. Malice toward Caesar, good will toward Antony. 

178. An offer to share with Antony the offices and places of 
power. 

191. Antony's position is so difficult that either course opens 
him to criticism. 

271. Ate was the goddess of revenge. 

273. " Havoc " was the word used in early times, when no 
quarter was to be given to an enemy. 



150 Notes [Act IV 



ACT III. SCENE II 

43. enforced, exaggerated. 

177. The Nervii were a fierce Belgic tribe who fought so well 
that Caesar, to save his army from defeat, took his shield on his 
arm, ran into their ranks, and made a lane through them. His 
soldiers, seeing his danger, rushed after him, broke the ranks of 
the Nervii, and turned a defeat into a victory. This battle, won 
in the year 57 B.C., was one of Caesar's greatest triumphs, and was 
celebrated with unusual pomp and festivity in Rome. See the 
account in Caesar's Gallic War, Book ii, chapter xxv. 

247. A drachma was a Greek coin, strictly about half of the 
Roman denarius ; but Plutarch's drachmas were probably equivalent 
to denarii, and were about nineteen or twenty cents in value. 

259. On a funeral pyre, a structure of several stories, the lower 
filled with combustible materials; often ornamented with statues, 
festoons, gold, and ivory. 

ACT III. SCENE III 

Cinna was a Roman poet. He wrote an epic poem called 
Smyrna, of which only a few lines are extant. He was killed in 
44 B.C. by a mob of Caesar's adherents, who mistook him for another 
Cinna, an accompUce of Brutus. 

ACT IV. SCENE I 

Cassius, whom Caesar instinctively distrusts because he has a 
" lean and hungry look," has none of Brutus's elevation of nature, 
although he does not lack firmness, courage, and devotion to the 
cause he has at heart. He is not above some of the smaller pas- 
sions, for he envies Caesar's prosperity and hates him because he 
overshadows all lesser men in the state. He has a keener observa- 



Scene II] Notes 151 

tion than Brutus, and is far less an idealist in spirit and aims. He 
is not above keeping for his own uses the money which is needed 
for the common enterprise. Quick of temper and passionate, he 
breaks out in fierce reproaches when Brutus upbraids him for this 
offence. But he is loyal at heart, and when he hears that Portia 
is dead, his anger instantly turns to sympathy. There are few 
scenes in Shakespeare more effective or more touching in pure 
pathos than the quarrel scene with Brutus. The fact that Brutus 
loves him is sufficient proof of Cassius's possession of sterling quali- 
ties of character. His faults spring from narrowness rather than 
from lack of character. There was a vein of egotism in him which 
made him willing to strike Ccfisar as his personal enemy rather than 
the enemy of the state, and more ready to resent the criticism of 
Brutus than to ask if it was deserved. 

Many things had happened between the third and fourth acts. 
Antony paid little regard to Octavius at first, but when he discov- 
ered that Octavius had many friends in the Senate, changed his 
attitude and made a kind of alliance with him. Octavius made ad- 
vances to Cicero, whose influence was very considerable. Antony 
was driven out of Italy, joined Lepidus, and made himself popular 
with Lepidus's army. When Octavius found that Cicero was bent 
on restoring the control of the Senate in Rome, he broke off his 
relations with him and made an alliance with Lepidus and Antony. 

9. Antony was anxious to keep the large sums of money which 
had come into his possession, and Octavius, as Coesar's heir, was of 
the same mind. 

27. This alludes to the English custom of villages holding land 
in common, or joint, ownership, and using it for pasturage. 



ACT IV. SCENE II 

16. Not with such courtesy as he had formerly received Lucilius. 
26. Jade was a term of contempt for a worthless horse. 



152 Notes [Act V 



ACT IV. SCENE III 

10. Cassius had collected a large sum of money by forced levies 
on the people, and Brutus was anxious to use some of it to replace 
the large amount he had spent on ships in order to command the 
sea. This request Cassius had slighted. 

71. Brutus cannot take money by force from the poor peasants. 

80. Counters were round pieces of metal used in calculations. 
They were without value. 

102. Plutus, the god of the lower world, and therefore of riches. 

137. Writers of ballads which were sung, hence called jigs. 

147. One of the most impressive passages in Shakespeare, by 
reason of its brevity and its tremendous significance in the life of 
Brutus. 

156. Determining to kill herself, Portia " took hot burning coals, 
and cast them into her mouth, and kept her mouth so close that she 
choked herself." 

180. Octavius and Antony had condemned two hundred promi- 
nent Romans, including Cicero, to death. 

252. Brutus ate little, slept Httle, and worked incessantly. At 
night, after making his plans and preparing his dispatches, he was 
in the habit of reading some book which he kept at hand. 

270. Showing Brutus's great consideration for others. 



ACT V. SCENE I 

21. Talk either among themselves or conference with their 
enemies. 

34. Hybla, a town of Sicily famous for its honey. 

53. Caesar is said to have been wounded thirty-three times. 

77. Epicurus was a Greek philosopher, founder of the Epi- 
curean School. He was born in the island of Samos in 337 B.C. 
About 306 he went to Athens, where he purchased a garden and 



Scene V] Notes 153 

founded a celebrated school of philosophy. He was very popular 
as a teacher and had many pupils. He taught that pleasure was 
the chief good. He opposed popular superstition and refused to 
recognize the gods of Greek mythology, maintaining that the gods 
give no attention to earthly affairs, which they consider beneath 
their notice. Epicurus died in 270 B.C. 



ACT V. SCENE III 

37. Parthia, ancient territory of western Asia, situated southeast 
of Caspian Sea, corresponded nearly to the modern Persian prov- 
ince of Khorassan. 



ACT V. SCENE V 

68. Antony declared that of all the conspirators Brutus was the 
only one who slew Caesar because he thought the act itself com- 
mendable; the others had some personal malice or grievance. 



An Introduction to the 

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